Monday, March 31, 2014
Top Ten Tips For Titling Your Movie...
Is the title of your film killing its chances?
Consider, the title for your film or script is the VERY FIRST thing most people will experience about it. The first question asked is usually ‘what’s it called?’
And like all first impressions, you want it to be a good one.
As humans, we make immediate and long lasting judgements in that very first moment of experience. Much like seeing someone across a room who catches your eye, a title should attract both powerfully and authentically, promising something exciting, stimulating, thought provoking and mysterious… If it can do this, the grounds for a solid relationship are laid (be that an actor turning the first page of the script, an audience member buying a cinema ticket or a financier choosing to read the whole synopsis instead of moving onto the next project).
Over the last week I have been teaching at a European initiative workshop called Four Corners. Film makers from countries including Greece, Bulgaria, UK, Germany, Estonia and more, all gathered in central London for an intensive week long development workshop.
All the students had reasonably well developed projects, some commercial, some art-house, some drama, and some just ‘out there’. One consistent issue that kept coming up for me was the titles they had chosen. To be fair, these filmmakers were not working in their first language (they were working in English) and it was clear a huge amount was being ‘lost in translation’. Titles often felt a little ‘on the nose’ or simply too esoteric. But after working hard all week, most of the films gained new titles and their pitches began to sizzle.
This simple title change made a huge difference to their pitches as the title is the jumping off point…
So here are my top ten tips for titling your film.
And 11… Yes there are LOTS of examples of films that defy these tips. But why make your life hard? Isn’t it tough enough to get a film financed, produced and distributed?
Onwards and upwards!
http://www.chrisjonesblog.com/2011/07/top-ten-tips-for-titling-your-movie.html
Consider, the title for your film or script is the VERY FIRST thing most people will experience about it. The first question asked is usually ‘what’s it called?’
And like all first impressions, you want it to be a good one.
As humans, we make immediate and long lasting judgements in that very first moment of experience. Much like seeing someone across a room who catches your eye, a title should attract both powerfully and authentically, promising something exciting, stimulating, thought provoking and mysterious… If it can do this, the grounds for a solid relationship are laid (be that an actor turning the first page of the script, an audience member buying a cinema ticket or a financier choosing to read the whole synopsis instead of moving onto the next project).
Over the last week I have been teaching at a European initiative workshop called Four Corners. Film makers from countries including Greece, Bulgaria, UK, Germany, Estonia and more, all gathered in central London for an intensive week long development workshop.
All the students had reasonably well developed projects, some commercial, some art-house, some drama, and some just ‘out there’. One consistent issue that kept coming up for me was the titles they had chosen. To be fair, these filmmakers were not working in their first language (they were working in English) and it was clear a huge amount was being ‘lost in translation’. Titles often felt a little ‘on the nose’ or simply too esoteric. But after working hard all week, most of the films gained new titles and their pitches began to sizzle.
This simple title change made a huge difference to their pitches as the title is the jumping off point…
So here are my top ten tips for titling your film.
1. The shorter the better.
2. The title should hint at the genre of the film. Do this well and the second question people usually ask (what’s the genre?) is answered implicitly.
3. The title is a sales tool designed to get people to read the script, rent the film or ask for more information. It is NOT an artistic statement (think more craft than art).
4. More often than not, your title will be accompanied by a short pitch or key artwork. This should all work in harmony and feel like a component part of a whole and well rounded concept.
5. You will NEVER be 100% happy with the title. It always feels like a bit of a compromise. And why shouldn’t it? You are reducing 100 pages of story to a single word of phrase.
6. Once you decide on a title, if a better one comes along, use it. You are NEVER wedded to the title until the film is complete (of course this raises social media and online marketing problems). Ideally get it right up front, but DON’T hold on to a poor title if a new and better one comes along.
7. Check the titles ‘Goolgeability’ with the Google keyword tool. How many people actively search for that word of phrase each month? These metrics are important.
8. Don’t be clever. Titles are not something to be figured out. As film makers, we might like the idea of a title being a mystery or ephemeral, but audiences will just move right on by if they don’t ‘get it’ immediately.
9. The title should infer the central conflict of the film… ‘Jaws’ (the shark is going to eat people), ‘The Exorcist’ (there’s going to be an exorcism), or more recently my pal Mike Mindel, who renamed serial killer horror movie ‘The Hollow’ to ‘Don’t Let Him In’.
10. Above all, ‘do what it says on the tin’. The title should honestly and succinctly reflect the story.
Onwards and upwards!
http://www.chrisjonesblog.com/2011/07/top-ten-tips-for-titling-your-movie.html
3 Film Directing Tips: How To Be Zen And Have A Good Time...
The sun is beginning is to set. The grips have pulled in the boom jib.
But there’s something wrong. . .
The wire cable is tangled.
The lead actress’s wardrobe is torn and the rip is showing on the side.
The wardrobe team is frantically trying to sew the rip.
Your D.P. is freaking out … you’re losing the light!
What do you do?
Here’s a film directing tip. Be Zen. It is your vision. You are the captain of this ship. . .
You calmly bring everyone in and say:
“Don’t worry about the jib, no need to sew the dress. I only need a close up of her eyes as she looks out onto the horizon.”
Your crew reassures you that they can do it.
“No need. No sense in stressing out with everything. Just get me the close up shot and we’ll call it a wrap.”
That’s being a captain. That’s film directing.
As a film directing tip, I want you to remember something – You are the director. And it is up to you to have a clear understanding of what the complete story is about before you enter the realms of production.
All the other heads of production will focus on their specialty.
They will give you the very best of themselves, but it is your responsibility to provide clear guidance on where you will be taking them. You will focus on film directing.
If you know deep down, that the essence of the story you are telling is about, let’s say, the transformation of a meek girl to a self-empowering woman.
Then you would know, that an elaborate boom jib shot in magic hour, might come off as melodramatic and a bit cheesy.
Whereas by using a simple close up of your actress’s eyes will deliver a much more personal connection for the audience.
This is film directing. . .
I’m not gonna argue with Bruce, are you?
Becoming like water is probably the best advice to give to anyone who wants to get into film directing. And as film director, as anything and everything will go wrong on the making of your film.
Being able to see the bigger picture, and being able to accept whatever story unfolds before you is crucial.
You really must “let go” and be formless as water in order to steer your film.
One of the other famous quotes of Bruce Lee is, “Knowing is not enough, you must apply”.
During the early part of my career, before I got into film directing, I was the Cinematic Supervisor for Sony PlayStation.
We produced a lot of the cinematic animated and visual effects sequences for many of the first-party titles during the boom of PlayStation 1,2, and 3.
My specialty was in editing and visual effects compositing. I was last in line when it came time to make magic out of all the elements that came down the pipeline.
When things didn’t go as planned, I would have to help the production process by saying:
“That’s okay, just give me that element there and I’ll add a mask here.”
This process was essentially being like “water”, as I was directing the elements in order to help it through a funnel where I could get the shots and sequence completed.
Fast forward to a few years later and here I was making a very-teenie-tiny independent film called The Cube.
You can read more about that experience here.
Anyway, during the process of directing the feature film, I had to “let go” and become like water in so many facets, because resources were extremely limited.
Having a broad sense of the story, I knew whether or not I should freak out about a shot not quite working out, or be flexible to jump on an opportunity that arose when it presented itself.
Film directing can be very stressful, as you will have so many of your hopes and dreams locked into whether or not you can pull off making your days.
But if you can “let go” and be like water and accept the moment. . . Then you’ll be able to guide your team through the production without stress.
You will gain experience in film directing. And you will survive another day to direct again and again.
Case in point … check out how Clint Eastwood controls his sets.
- -
Scott McMahon is the Director of Content Marketing for The Film Trooper, a website for helping filmmakers become entrepreneurs. Scott recently made the feature film The Cube that was made for $500 with no crew. For more info on the equipment Scott used to make this feature film with no crew, then all you have to do is head on over to www.FREEGEARGUIDE.com
http://www.filmmakingstuff.com/film-directing-tip-zen-good-sense-story/
But there’s something wrong. . .
The wire cable is tangled.
The lead actress’s wardrobe is torn and the rip is showing on the side.
The wardrobe team is frantically trying to sew the rip.
Your D.P. is freaking out … you’re losing the light!
What do you do?
Here’s a film directing tip. Be Zen. It is your vision. You are the captain of this ship. . .
You calmly bring everyone in and say:
“Don’t worry about the jib, no need to sew the dress. I only need a close up of her eyes as she looks out onto the horizon.”
Your crew reassures you that they can do it.
“No need. No sense in stressing out with everything. Just get me the close up shot and we’ll call it a wrap.”
That’s being a captain. That’s film directing.
Film Directing Tip 1: See The Big Picture
As a film directing tip, I want you to remember something – You are the director. And it is up to you to have a clear understanding of what the complete story is about before you enter the realms of production.
All the other heads of production will focus on their specialty.
They will give you the very best of themselves, but it is your responsibility to provide clear guidance on where you will be taking them. You will focus on film directing.
If you know deep down, that the essence of the story you are telling is about, let’s say, the transformation of a meek girl to a self-empowering woman.
Then you would know, that an elaborate boom jib shot in magic hour, might come off as melodramatic and a bit cheesy.
Whereas by using a simple close up of your actress’s eyes will deliver a much more personal connection for the audience.
This is film directing. . .
Film Directing Tip 2: Become Like Water
"You must be shapeless, formless, like water. When you pour water in a cup, it becomes the cup. When you pour water in a bottle, it becomes the bottle. When you pour water in a teapot, it becomes the teapot. Water can drip and it can crash. Become like water my friend."
~ Bruce Lee
I’m not gonna argue with Bruce, are you?
Becoming like water is probably the best advice to give to anyone who wants to get into film directing. And as film director, as anything and everything will go wrong on the making of your film.
Being able to see the bigger picture, and being able to accept whatever story unfolds before you is crucial.
You really must “let go” and be formless as water in order to steer your film.
Film Directing Tip 3: Knowing is NOT Enough
One of the other famous quotes of Bruce Lee is, “Knowing is not enough, you must apply”.
During the early part of my career, before I got into film directing, I was the Cinematic Supervisor for Sony PlayStation.
We produced a lot of the cinematic animated and visual effects sequences for many of the first-party titles during the boom of PlayStation 1,2, and 3.
My specialty was in editing and visual effects compositing. I was last in line when it came time to make magic out of all the elements that came down the pipeline.
When things didn’t go as planned, I would have to help the production process by saying:
“That’s okay, just give me that element there and I’ll add a mask here.”
This process was essentially being like “water”, as I was directing the elements in order to help it through a funnel where I could get the shots and sequence completed.
Fast forward to a few years later and here I was making a very-teenie-tiny independent film called The Cube.
You can read more about that experience here.
Anyway, during the process of directing the feature film, I had to “let go” and become like water in so many facets, because resources were extremely limited.
Having a broad sense of the story, I knew whether or not I should freak out about a shot not quite working out, or be flexible to jump on an opportunity that arose when it presented itself.
Film directing can be very stressful, as you will have so many of your hopes and dreams locked into whether or not you can pull off making your days.
But if you can “let go” and be like water and accept the moment. . . Then you’ll be able to guide your team through the production without stress.
You will gain experience in film directing. And you will survive another day to direct again and again.
Case in point … check out how Clint Eastwood controls his sets.
- -
Scott McMahon is the Director of Content Marketing for The Film Trooper, a website for helping filmmakers become entrepreneurs. Scott recently made the feature film The Cube that was made for $500 with no crew. For more info on the equipment Scott used to make this feature film with no crew, then all you have to do is head on over to www.FREEGEARGUIDE.com
http://www.filmmakingstuff.com/film-directing-tip-zen-good-sense-story/
Sunday, March 30, 2014
Shawn Lights’ (234) Film Tips: “Phase 1”...
2. Opening of Touch of Evil and the sound booth scene in Strangers on a Train are useful resources to study camera movement.
3. Back lighting is more cinematic. Light from the behind and fill. Reverse Lighting.
4. Our past failures shape us. Better to have done a bad film than not to have done anything. It gets better.
5. Working on a no budget? Write where there is only a handful of characters. I suggest 5 max.
6. You’re only as good as your team. Surround yourself with good filmmakers.
8. Filmmakers are psychologists with cameras.
9. A quick way to decent lighting, back light your subject, then add some fill.
10. Think in terms of meaning, themes, symbolism, and message.
11. Try to make your actors as comfortable as possible.
12. On set monitors are great, still think it’ll be great to also show dailies.
13. Your film is two films. You edited the pictures together to create one. Then sound design creates another.
14. When filming outdoors, try putting the sun behind the subject and use a reflector if needed.
15. Your reel is a major key to your career.
16. Be respectful. No one wants to work with arrogant jerks or condescending attitudes.
17. Encouragement and appreciation will keep your team happy to work with you.
18. Be prepared but be ready to adjust.
19. Story will always be king. Concentrate on developing a good story.
20. Look out for old lenses. They’re cheaper and usually comes with some character.
21. Turn your tripod into a dolly by pulling one leg up and leaning the tripod forward and backwards.
22. Be honest with your actors.
23. Carry a notebook or something that takes notes with you at all times. Inspiration can come at any time.
24. Digital Cameras are like film emulsions. The give off different looks. Test them out before starting a project.
25. Write around what you have to eliminate headaches.
26. It’s better to tell the story than deliberately trying to be flashy.
27. Light for the F-stop you want.
28. Amazon search “EZ Frame”. Reflector that can be mounted on a light stand to act as a flag. Very useful.
29. When editing, cutting with motion helps the cut go unnoticed.
30. Getting feedback is a sure way to improve yourself.
31. In film we adapt to situations.
32. Cinematographers in this age should sit with the colorist to ensure his or her vision remains.
33. The important thing is to know your tools’ limits.
34. Action scenes and commercials rely on story boards.
35. It’s best to always schedule breaks. You don’t want to run on “E”.
36. Raise light to drop shadows.
37. This is often overlooked. Add some eye light. Turn on the flash light on your cell phone if you have to.
38. There will never be a perfect camera. So stop waiting on one and use what you have.
39. Blog Post: The Shawn Lights Filmmaking Handbook. Ton of information gathered over the years. http://wp.me/p3cQIu-4s
40. Turn one shot into two with just camera movement to create a more cinematic feel.
41. Quick guide to cinematic images part 2: Depth of Field http://wp.me/p3cQIu-1i
42. A good source of inspiration for creative ideas is music. Put on some headphones and turn up the volume.
43. Quick Guide to Cinematic Images Part 4: Inserts vs Detail Shots http://wp.me/p3cQIu-1u
44. Mixing different color temperatures together can create interesting images.
45. Quick Guide to Cinematic Images Part 3: Lighting Guides. http://wp.me/p3cQIu-1t
46. You have a smartphone? Check out the shot designer app.
47. Rake light on background wall = good start.
48. Take the soundtrack/musical score serious. It adds to the overall feel of the film.
49. If you can, limit the amount of hats you wear. Get people who can do certain jobs well.
50. Blog post: The Beauty of the Backlight. http://wp.me/p3cQIu-3f
51. Best to think about your final aspect ratio before shooting.
52. Every time you do a project a lesson is learned.
53. If you haven’t yet, purchase a copy of “Moviemakers’ Master Class: Private Lessons from the
World’s Foremost Directors."
54. Great cinematography is about context. That shot is beautiful because it’s essential to the story.
55. The style over substance black hole is always around, try to avoid it.
56. Shoot as much as possible. Trying to make your first short perfect isn’t realistic. Mistakes build
experience.
57. Simplicity is often beautiful.
58. Make your own way to success. The conventional ways don’t apply to todays digital age.
59. Know the effects of focal lenghts to creatively and effectively tell the story.
60. Need a cheap location? Book a hotel room and go with an extremely small crew.
61. It takes several films in order for you to find your voice. Enjoy the journey!
62. Examining still images can help improve your skills.
63. Big window in the scene and you don’t have ND gel? Expose for the window and light inside. .
64. Color grading should enhance what the cinematographer already created. .
65. Blast light through a white bed sheet for diffusion..
66. Check out our color grading tutorial. This trick will have you grading in seconds. http://youtu.be/lM4DMsbDk3g?a
67. Assistant Director is such a valuable asset. .
68. Never stop learning.
69. Achieving David Fincher’s Color Palette. http://wp.me/p3cQIu-o
70. Blog Post: How Music can become an Unseen Character in your Film! http://wp.me/p3cQIu-3F
71. You learn MUCH more from the mistakes you made than the things you did right.
72. New directors are often intimidated by Actors. Truth is they’re usually intimidated by you too. Work together.
73. On set keep a marker handy and write your name on your water bottle. Money saver and stops
confusion.
74. What lens you use is your creative choice. Several love wide lenses, Hitchcock loved normal, and Kurosawa loved telephoto lenses.
75. Light the points where the actors hit.
76. The script is merely a guideline. Go with what looks, feels and sounds natural, but don’t get carried away.
77. Always check to make sure you have multiple takes of the shot you need before leaving set/location.
78. Quick Guide to cinematic images Part 1: Lighting http://nashawnosborne.com/2013/02/22/18/
79. Light is your paintbrush. Shadows are your magic.
80. 3-point lighting is ok, but try side lighting your subject.
81. Try not to burn bridges.
82. If you’re not early, you’re late.
83. Generally the background is always darker than subject.
84. It’s actually more cinematic for the background to gradually blur out instead of shooting incredibly shallow.
85. Great lighting can be a simple setup. Doesn’t always have to be complicated.
86. When filming an over the shoulder it’s a nice effect to push in slowly to a close up as they come to the end of their lines.
87. Everyone on set deserves respect. From the Producer down to the PA.
88. Contrast ratio can be an easy way to achieve a certain mode. 4:1/8:1 is good for Drama. 2:1/3:1 for comedy or light hearted films.
89. Hardest thing in film is finding your voice. Enjoy the journey.
90. There are no rules in Cinema, only guidelines.
91. You’re an artist. Your job is to provoke a reaction and emotion. Good or bad. #FilmTip
92. Try to keep your background from competing with your subject, by making it a few stops darker.
93. Set process: Blocking, Light, Rehearse, Tweak, Shoot.
94. Watch your favorite movies and try to figure out what is it about them that draws you to them so
much. Camera, Story, Acting, etc.
95. Directing doesn’t necessarily mean you have to constantly be telling people what to do. Listening and considering is important.
96. Frame for what’s there, adjust for what happens.
97. I know it hurts and I know you love that shot, but if it doesn’t fit with the overall film you have to cut it.
98. Don’t be afraid of shadows. What’s not lit is just as important as what is lit.
99. In my opinion, cinematic look isn’t shallow DOF. Cinematic look= lighting, camera movement, etc.
100. The antagonist is the one who forces the hero to make decisions. In a way the antagonist is often the most important character.
101. There is no set way to directing. Learn what works for you.
102. We’re in a generation of quick cuts, but experiment by linking shot types with simple camera movement.
103. Back light when shooting a rain scene. It’ll make the rain pop.
104. Come up with your own ritual. Having a routine may help you. Find your element.
105. Having a positive attitude and working hard is a way to success.
106. Formula for perfect Lighting = Whatever works.
107. Establishing shots aren’t necessary, but it’s useful for eliminating geographic confusion.
108. Lenses are often more important than the camera. Good glass is always a good idea.
109. Way around the 180° degree rule, cross with camera movement.
110. Storyboards is a great way to easily convey your vision to the crew.
111. Nothing or no one can teach you more than just going out and shooting constantly.
112. Parallax is essential when it comes to cinematography.
113. Make sure you expose for your highlights when using most digital cameras.
114. Usually it’s best for the Actor/Director relationship to feel like a partnership not a dictatorship.
115. Low budget means work with a small crew and wear many hats.
116. Reflectors should always be on set.
117. Practical lights is essential. Invest in some dimmable lamps. You can use them to set design and motivate your lighting.
118. As several DPs say, it’s better to make a great film than a great looking film.
119. It’s sometimes easier to beg for forgiveness than ask for permission.
120. Creativity is often the solution to limitations.
121. Over shooting can be harmful. Useful coverage > Shooting every angle in the world.
122. Independent Directors should think in terms of editing.
123. I know they told you to white balance where white is white, but get creative with it. WB can change emotion. Terminator 2 anyone?
124. Mistakes happen. Key is to learn from them.
125. Filmmaking is a collaboration not a dictatorship.
126. Some lights for you to search: z96 light, CN600 SA, 500, 600, and 900 Led lights. Amazon and Ebay is your friend.
127. Wide shot, over the shoulder, reverse OTS, and close ups is a standard that works.
128. Set design can make an uninteresting room into something amazing.
129. 4 pages a day and you have written a feature film in 30 days.
130. Light meters aren’t meaningless in the digital age. Still immensely helpful.
131. Blocking action is a big ingredient to making images look cinematic. Yes even that guy seemingly randomly walking pass the camera.
132. Cinema is all about illusion.
133. Filmmaking is psychological manipulation using stories, cameras, sound, and light.
134. Free writing or writing words that comes to your mind on a piece of paper can help you come up
with something creative.
135. Try to always do an extra take for safety and good measure.
136. Trust your eyes when setting up a shot.
137. Technical things can be learned. Heart, passion, and dedication is all on you.
138. Get the *beep* Key light off of the background.
139. Pay attention to back light when you watch movies. It’s almost a necessity.
140. Filmmakers should read novels. Novels help you think visually.
141. Hard light usually is better for wide and master shots. As you get close, soften up.
142. Using sound design you can contrast, contradict, or compliment the image. The options are endless.
143. Sound is 50% of the project, take it seriously.
144. If you can’t borrow, rent. If you can’t rent, lease. If you can’t lease, buy.
145. Usually when you use lenses on either side of normal (wide & Telephoto) things are more
interesting.
146. For every shoot day there should be a pre-production planning day.
147. Never underestimate the importance of lighting when filming.
148. Food on set is a must.
149. Multiple lights near each other creates multiple shadows. Bouncing them together works.
150. Cinematographers should know their cameras limitations.
151. It’s important to ask yourself what do you want the audience to feel before shooting a scene.
152. Filmmakers rely on their crew to make the film the best they can.
153. Practical lights is essential. Invest in some dimmable lamps. You can use them to set design and motivate your lighting.
154. The internet is extremely important for Indie Filmmakers. Don’t just wait out for Film Festivals.
155. Take pre-production serious. Be prepared. Work smarter not harder.
156. Cinematographers and DPs should visit art museums. Pay attention to the lighting in paintings.
Renaissance era is my favorite.
157. Take a moment to look at how the light in a room is falling. No matter where you’re at; restaurant, hotel, etc. It’ll train your eye.
158. How the past can shape your future. Examining Paintings. http://wp.me/p3cQIu-3U
159. If you can’t draw, toys are a great way to create storyboards. Just take snapshots.
160. Don’t have the actors’ call time the same as the crew’s call time. Nothing more annoying than sitting around waiting for hours.
161. When editing music videos, making cuts according to the music/beat is a quick way to make a nice video.
162. Let your actors motivate the camera movement.
163. There is a thin line between tech head and filmmaker.
164. Don’t be afraid to take risks.
165. Try visiting locations prior to shooting.
166. Watch “Living in Oblivion” for what not to do on set.
167. Surround yourself with other creative minds/people.
168. Planning to release in CinemaScope aspect ratio and you’re shooting full HD? Use the motion tool in editing to create a crane shot.
169. Remember what effect lenses have. Wide lenses exaggerates distance, telephoto compresses.
170. Silence is loud.
171. Negative space is sometimes more important than positive space for good frame composition.
172. The key to a character is his or her eyes.
173. If there isn’t much movement in the scene, you may be able to manipulate your shutter speed to increase sharpness.
174. Use black wrap on barn doors to control spill from lights, especially LEDs.
175. Get as much mileage out of a camera setup as possible.
176. Can’t get a back light without seeing the light stand? Hand a silver reflector in the back and bounce a light.
177. Most people upgrade cameras before buying some lights. Without light it doesn’t matter what camera you have.
178. F-Stop affects DoF, ISO affects noise, Shutter Speed affects motion, All affect your exposure.
179. Fog/smoke is often used on Hollywood production.
180. Use speed ramping to easily go from normal motion to slow or fast motion when editing. #FilmTip
181. Pay attention to the growth of LED technology. It’s both economical and comfortable for actors. Gives off little heat.
182. Low angles and High angles are more interesting than eye level.
183. Test out different angles with lights.
184. Don’t try to be a one man band. Filmmaking is a teambased business.
186. Write everything down.
187. Pools of light. Showing what is most important. Directing the eye.
188. Checking a take? Think of Performances, composition, camera movement, background and foreground action, production design, and editing.
189. General rule: a shot has to change by 30° for it to cut with the previous shot.
190. Motivated lighting makes for moving cinematography.
191. The beauty of cinema is that it can encompass anything in the world. From philosophy to music.
What is it you want to explore?
192. The great directors know how to use camera movement to create several shots in one take.
193. Cinema is a perfect blend of art and science.
194. Locations add production value.
195. Mastering the art of staging will lead to cinematic images and moments.
196. It helps to see foreign films. Observing different approaches to cinema is great.
197. Assembly edits can be a great way to give an idea of how the story flows.
198. Digitally down sampling can allow one shot to turn into two. Like a Wide into a medium.
199. Craft beverages should always include coffee, tea, and water.
200. Having trouble planning your shoot? Check out Chimpanzee production software.
201. Filmmakers are now forced to be both filmmakers and marketing specialist.
202. How Music can become an Unseen Character in your Film! http://wp.me/p3cQIu-3F
203. Filmmakers often over complicate things. Keep it simple.
204. Camera movement best done subtly.
205. Often we forget about time and how holding on a shot can have a big dramatic effect.
206. At the end of the day a camera, tripod, light, and lenses is all you truly need.
207. This is simple but it’s true: Practice, Practice, Practice.
208. Picture profiles are like film stocks on these new digital cameras.
209. Don’t be afraid to make mistakes. Our most creative moments often come from making mistakes and fixing them.
210. It’s better to work with the natural light on the location than to work against it.
211. Lighting through windows can help hide your lights and diffuse them.
212. If you do your preproduction well, the actual filming becomes easier.
213. Avoid these words at all costs. They can kill your budget. – “We’ll fix it in post.”
214. Some directors never say action. Just rolling and then the action starts when the actors are ready.
215. It is my opinion that night shots are the most beautiful of all, because light breaks through the
shadows in pools.
216. Try not to use equipment just because you have it. Everything should be motivated by the story.
217. Start building a team as soon as possible.
218. Ever think about lighting a scene outside with the headlights on a car?
219. The story is the most important part of filmmaking. The story is what grabs us.
220. Given you casted good actors, let them give you their input. Great things happen when you work together.
221. Shooting towards a couch in a house or apartment it’s usually a good idea to pull the couch away from the wall.
222. When it comes to outdoor shots it takes you scouting like a soldier documenting the changes of light as time progresses.
223. You have to know when to comprise and when to stand your ground.
224. Filming in natural and low light, you have to strategically place your subjects.
225. Pace each shot. Slow heightens emotion, Fast heightens action.
226. Separate your subject from the background.
227. Casting is one of the most important aspects of making a film.
228. Pay attention to the color palette. Check out Adobe Kuler for help.
229. Rule of thirds is more of a guide than a rule.
230. The conventional color grade is to cool off the shadows and warm up the midtones.
231. Closeups are like underlines, it’s important not to overuse it.
232. General rule, don’t fight with the sun because you’ll lose. Easier to gel lights than to gel windows.
233. Crew is never mad at wrap up beers!
234. A portable slider is an easy way for you to be able to capture cinematic shots.
Joss Whedon’s Top 10 Writing Tips...
Joss Whedon is most famous for creating Buffy the Vampire Slayer, its spin-off Angel and the short-lived but much-loved Firefly series. But the writer and director has also worked unseen as a script doctor on movies ranging from Speed to Toy Story. Here, he shares his tips on the art of screenwriting.
1. FINISH IT
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.
2. STRUCTURE
Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
3. HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’
4. EVERYBODY HAS A REASON TO LIVE
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue: you get soundbites. Not everybody has to be funny; not everybody has to be cute; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue: you get soundbites. Not everybody has to be funny; not everybody has to be cute; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
5. CUT WHAT YOU LOVE
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.
6. LISTEN
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.
7. TRACK THE AUDIENCE MOOD
You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.
You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.
8. WRITE LIKE A MOVIE
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely. Let the read feel like the movie; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet?’
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely. Let the read feel like the movie; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet?’
9. DON’T LISTEN
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction; it’s a homogenising process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up: they’d started talking about a different show.
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction; it’s a homogenising process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up: they’d started talking about a different show.
10. DON’T SELL OUT
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie: if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are: that’s called whoring.
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie: if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are: that’s called whoring.
Gentle Thug Productions: How We Shoot Movies (The "Gentle Thug Rule of 3's")...
The above diagram shows how we attempt to shoot movies as part of the "Gentle Thug Rule of 3's": Each film is divided into three Acts; each Act is divided into Scenes with multiples of three; each Scene is divided into Shots with multiples of three; and each Shot is divided into Sequences with multiples of three (elementary stuff, I know...).
We've found that if we follow this process, the storytelling becomes a bit easier to handle, and it allows the movie to flow quite nicely. This system can be used with either short or feature films - the difference, of course, being the amount of Scenes, Shots, and Sequences utilized as part of the storytelling process.
As noted above, the director has choices to make in regards to how each Shot (along with the subsequent Sequences) is going to be filmed - the choices of both the type of shot and the camera angle must be decided in advance of each individual Shot.
A definite "rhythm" is established when using the "Rule of 3's" that definitely enhances the movie making process for both the director and the audience (not to mention the cast and crew)...
Happy shooting!
Saturday, March 29, 2014
Resurrection And Filmmaking...
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water.
― Robert Bresson
― Robert Bresson
Top Ten Tips for Movie Production and Guerilla Filmmaking...
1. Turn the camera sideways or upside down – This technique has been used in more movies than you can imagine and still works as well or better than many CGI simulations. Need an actor to walk across the ceiling? Build a floor that looks like a ceiling and turn the camera upside down. Need a creature scuttling across the wall in defiance of gravity? Construct a floor that looks like a wall and turn the camera on its side.
2. Realize that different angles of the same scene don’t have to be shot in the same place – A very common film technique that is often overlooked by beginning filmmakers using different locations for the same scene. For example, say a character just got out of prison and is met outside by a criminal buddy and they discuss a new criminal endeavor. As a guerilla filmmaker, sets are hard to come by and they tend to be expensive. However, filming a long scene outside a prison without the proper permits might get you thrown in one! This scene could be done by parking a car (with the film crew inside) across the street from a prison. After your actor stands by the entrance for a moment, he begins to walk beside the prison wall. Now you have the setup. Find a readily accessible wall that visually matches that of the prison (maybe even make one) and film the entire dialogue scene there. If done properly, when cut together in editing, the audience won’t be able to tell the difference. This technique is especially useful if you are a writer/director. You can script scenes for this technique to add scope to your film that your budget could never afford.
3. Water the streets – An old cinematographer’s trick for filming exteriors on asphalt or concrete (especially at night with street lights around) is to water road surface. The reflections and street glow add a lot of depth and character to a scene.
4. Fake sweat with petroleum jelly – If you need your actor to appear to be sweating, spread petroleum jelly lightly over the area to be photographed and spritz with water. The general shine plus the beading of the water will pickup very well on film. Note that you should find another technique for lengthy shoots. For one, the actor will become uncomfortable under the hot lights when sealed under a layer of jelly. Also, since the jelly will seal the pores, long scenes with it on will cause acne and other undesirable skin effects over a several day shoot. It takes a lot of extra makeup to disguise the blemishes you created in the first place (as I found out on a shoot).
5. Use preplanning and holidays to maximize your budget – If you are a guerilla filmmaker, you probably have more time and inventiveness than money. Be sure to take advantages of the various holidays (particularly the day-after-holiday sales) to maximize your film budget dollars. Halloween is the best filmmaker’s holiday with inexpensive fog machines, costumes, wigs, and make-up (although most Halloween make-up isn’t good enough for film work, you can always use some extra spirit gum). The fluorescent orange plastic jack-o-lanterns are perfect for making no-budget road pylons. Christmas is excellent for cheap lighting (background cinematography effects, set decoration), reflectors of all sorts, electrical equipment, and sales on camera equipment. Thanksgiving provides table clothes (backdrops, simulated drapes) and kitchen equipment (timers, barbeque paint, heat-resistant items for use with lights). Easter has numerous inexpensive dyes (great for the Art Department for everything from fabric to aging/distressing work) and other useful items such as pavilions/tents. Of course all holidays are good for cheap candy/crew food ;-).
6. Simulating ice crystals – If you need to have a surface that is covered in frost or ice crystals, add some glitter to whatever you are coating the surface with. With just a little bit of light, the glitter will shimmer and provide both a visually interesting and convincing surface.
7. Use markers to speed your writing - When writing a script and you’re stuck on what to say, just type three letters (such as xxx) and continue writing. That will keep you moving forward. Later when you’re editing, you can search for the xxx key sequence and fill in the missing content.
8. Authoring DVDs and player compatibility problems – When you burn a DVD-R on a personal DVD burner, you might wonder why the disc doesn’t play on nearly as many brands of DVD players as some one-off DVD-Rs burned by companies (I’m not talking about the DVD-ROM pressings used by the big studios that work on almost all DVD players). There are actually two types of DVD-R discs: DVD-R-General and DVD-R-Authoring. While DVD-R-General discs are estimated to work on about 80% of DVD players, DVD-R-Authoring discs are estimated to work on around 90%. That 10% might not seem like a lot, but when you consider the Authoring discs cut in half the number of players that WON’T run your DVD, you see the advantage. Unfortunately, DVD-Authoring burners (such as the Pioneer DVR-A03) are much more expensive than a home DVD burner and use more expensive media. However, if maximum playability is what you want for your movie, consider outsourcing the burning to a place that can do the DVD-R-Authoring discs instead of doing it yourself.
9. Color timing and color matching – Color timing (a.k.a. color grading) is used to set the color palette of a film so that the colors appear as desired when played on various displays (so white walls appear white to the viewer or perhaps they appear red, depending on the desired artistic/lighting effect). Try to avoid doing any color timing on flat screens (and especially laptop computers) which don’t provide nearly the color fidelity of a color tube monitor. Further, the color tube more closely matches the destination medium (presuming the destination is some type of television).
10. Don't say "We'll Fix it in Post!" - Problems during production are usually far more difficult and expensive to fix in post production than initially imagined. Whenever you can fix a problem while on set, do it! All the problems you declare can be fixed in post will generate your biggest headaches.
http://www.cvisual.com/film-techniques/film-general-production-tips.asp
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