i

Forward
Filmmaking is all about making mistakes and learning from them.
Theres something to be said about spending countless hours in preproduction and production only to end up with footage that didnt
align with your creative vision. It sticks with you.
Almost every mistake that happens on a film could have been
avoided and a fundamental understanding of your craft is a great
place to start. As filmmakers, its our job to recognize these mistakes
and learn from them. Its this creative problem solving that makes
filmmaking so great.
Even if you dont like every filmmaking position, knowledge of how
all the necessary roles work together to create something amazing
can help you later on when youre directing a feature of your own. At
the very least, a better understanding of your gear will free up time
on set to focus on storytelling, rather than figuring out how to
operate the camera.
So, if youre feeling inspired to learn about filmmaking on a
fundamental level, we invite you to check out the contents of this ebook. As with most things in filmmaking, the contents of this book
may change in the years to come, but the concepts will remain the
same.

Good luck and dont give up!

PremiumBeat

ii

About the Authors

Noam Kroll

Michael Maher

Noam Kroll is an award-winning LA based filmmaker

and owner of the boutique production company,
Creative Rebellion.

Michael is an all-around tech and movie nerd who

enjoys shooting, editing, and especially watching films

Jonny Elwyn

Johnathan Paul

Jonny Elwyn is a freelance editor who has been living

and working in London, UK for the past 10 years.

Johnathan Paul is a filmmaker, artist, and writer. He

has written and directed several documentary and
fictional films.

Caleb Ward

Danny Greer

Caleb Ward is the Online Content Manager for

PremiumBeat.com. Caleb is an active filmmaker,
photographer, and motion graphic designer in the
DFW area.

Danny Greer is a seasoned video editor, blogger, and

website developer with a passion for all things media
and tech.

Matt Hibbard

Tristan Kneschke

Matt Hibbard is an accomplished audio engineer,

editor, and producer for A/V projects in the DFW
area.

Tristan Kneschke is a freelance editor and colorist

who operates NYC-based Exit Editorial.

Rebecca Case

Nicolai Yakimchuk

Rebecca Case is a Dallas-based producer and owner

of the production company, Park Cities Film.

Nicolai Yakimchuk is the Performance Marketing

Manager for PremiumBeat.com. Nicolai is a digital
marketer experienced in search campaigns and web
analytics.

iii

SECTION 1

How To Best Approach Your Indie Film Budget

Creating a budget for your film will guarantee that every dollar will be spent wisely.
A properly constructed budget will allow you to look critically at all
of your departments, which in turn provides you with much needed
clarity on critical decisions that need to be made throughout the
process.

To begin the budgeting process, break things down into the four
following major categories, all of which are standard to just about
any film budget:

For example... How much do you need to set aside for star talent?
What elements can you (or should you) barter for? Is it better to
rent or buy gear? What can you get for free? What are the largest
unavoidable expenses?

Pre-Production: 10%

Production: 35%

Post-Production: 35%

Distribution and Marketing: 20%

Understanding your needs ahead of time for each of these basic

components of the filmmaking process will keep you organized and
ultimately make your life that much easier.

equipment that breaks or renting additional gear that will help you
get the most out of your shots.
As mentioned earlier, the majority of film budgets (not including
huge blockbusters that spend most of their budget on marketing) are
spent during production. Regardless, designate about 35% of your
budget to actually shooting your film. As you will see in the sections
that follow, both post-production and marketing deserve just as
much attention and funding.

Pre-Production
Pre-production is comprised of all the items you must address in the
beginning phases of your production, up until the day you go to
shoot your film. In this stage, your budget will account for items such
as location scouting, insurance, office expenses, courier services,
script fees, casting director rate, and just about anything else that
you need to pay for before actually getting to set.

Post-Production
Leave a healthy portion of your budget for post-production, even if
you arent making a heavily post-driven film, such as a VFX spectacle
or action movie. No matter what genre youre working in, if you
skimp out in post, your film will suffer and the money you spent in
production will be somewhat wasted. Post-production funds will go
toward your editor, colorist, sound designer, composer, and the rest
of your post team. Not to mention, you may need money for music
licensing, stock footage, and deliverables like a DCP for festival
screenings.

Theoretically, pre-production should be the easiest to predict in

terms of cost. If youre shooting a low or micro-budget film, this
stage will likely be the cheapest of the four components of your
budget: no more than 10%.

Production
For films of any scale, production is often where the most amount of
money is spent, simply because there are more unavoidable costs
during this stage.

Allocate about 35% of your budget for post-production... the same

as your production budget. This may seem like a lot, and many
filmmakers choose to put more into production, but you will be doing
your film a disservice by cutting corners in this department.

Big ticket items (paying your cast and crew, location permits, gear
rentals, insurance, etc.) are all items that will necessarily need to eat
into your budget. Other line items (catering, lodging, transportation
costs for cast and crew, makeup) are also big considerations, but
some of these can be mitigated by thinking outside of the box. For
instance, if youre really on a shoestring budget, you might be able to
get a local catering company to sponsor your film, ultimately
bringing down your food line item.

Your final audio mix alone is worth its weight in gold, as clean audio
will literally make your film more valuable when you go to sell it.
Some films get completely ruined in post-production because of a
lack of funds films with great scripts and great production/cast/
crew behind them. Without enough budget or time left over for post,
the final products just didnt work.

During production its wise to keep a miscellaneous fund that isnt

accounted for in case you incur unforeseen expenses like repairing

When you begin itemizing your expenses, be sure to gain a clear

understanding of what you can contribute to the process on your
own and who you can utilize in your network to lend your film a
helping hand. After youve worked out these essential details, dont
forget to include some breathing room by creating a contingency
fund, which will go toward miscellaneous or unforeseen expenses
you may (and likely will) incur when setting out to make your film.

Distribution and Marketing

Once youve got the final master of your film, its time to start
pushing it out into the world. Its rare that independent filmmakers
allocate a sufficient amount of budget to marketing, but this should
really never be the case. After all, without marketing dollars? No one
will ever see your movie.
To start, you need to create a strategy to reach your audience and
eventually turn a profit. There are cost-efficient options such as
blogging or reaching out to other bloggers/online publications in
hopes that they will share your films trailer or write a review. As
well, social media outlets such as Facebook, Twitter, and Vimeo can
be instrumental in your films success on a grass roots level if you
really push things on those platforms.
That said, you will also want to account for the following marketing
items in your budget: a website for your film, screenings at various
theaters, film festival applications, local ad campaigns, and hiring a
publicist, if needed. Like any other phase mentioned here, make note
of what can be done on your own and what bartering options are
available to you within your network to keep your costs down. In any
case, do your best to allocate at least 20-30% of your funds to
marketing, and be prepared to do most of the leg work if you are
trying to keep the costs down.
There is no one-size-fits-all budget format, and ultimately you must
create a budget that is most in-line with your films needs. However,
it is essential that you create a well-thought-out, organized budget
for your project to ensure that all bases are covered when it comes
to the four important elements of filmmaking. Familiarizing yourself
with the films needs ahead of time will make the entire process (and
your life) easier.

SECTION 2

Five Tips For Casting Your Indie Film

All of these tips are focused on the creative aspects of casting. Their purpose is to help you get the right talent attached to your project not necessarily
to provide a how-to guide for a casting call.
If youve never held a casting session, youll probably want to do
some homework before approaching the aspects of the process
described below. Its very important that you know how to actually
get actors into the room and how to run a casting session on a basic
level. Once youre able to nail the logistical side of it, youll be ready
for the fun (but challenging) creative part. Lets look at the tips:

the actors diligently, people bring in just about anyone that applies,
worried that the right actor will be missed.
The more people you bring into the audition, the less time you can
spend with each of them. Why not pre-screen your talent by really
going through their resumes and headshots beforehand, so that you
can just bring in the people that you instinctively feel could be a
good fit? This will mean more time with the right people and a
session that isnt cluttered and confusing.

1. Dont Do Cattle Calls

One of the most common mistakes filmmakers make is bringing way
too many people into casting sessions. Rather than pre-screening

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2. Direct as Much as Possible

4. Callbacks Are Key

If an actor doesnt nail the first take of their audition, dont just throw
them out of the audition room. More often than not, the actor in
front of you is much more capable than they may seem... they just
dont get the scene. And can you really blame them? Often they are
given two or three pages of sides and are expected to play the role as
well as they would if they knew the script and character inside and
out.

Never assume that youll find your talent on day one even if youre
only casting a single person. Many directors are overly optimistic
before a casting session and make the mistake of not doing callbacks.
If there is one thing you absolutely have to do during the casting
process its callbacks.
Callbacks will give you an opportunity to see a different side of the
actors that you liked, try out new scenes with them, and bring in
some new actors that couldnt make the original auditions. At the
end of the day, it may be a bit of a pain to do a callback or two, but
youll be a lot better off than if you only do a single day and wind up
casting the wrong person for your film.

Give some direction and dont be afraid to do two or three takes if

you need to. This advice is also true for actors that are nailing it right
off the bat. Give direction and feedback to see how they react to it.
This will help you gauge their versatility.
Sometimes youll have an actor come in that is perfect for the scene,
but maybe not the part, because they are not versatile enough.

5. Use a Casting Director (But Only Sometimes)

Its pretty easy to hold a casting session yourself. Many filmmakers
who are on a tight budget will bypass using a traditional casting
director for many reasons.

3. Pair Actors Together

Traditionally, casting sessions can get pretty crammed. Even if youre
more selective about who you bring in, youre still bound to run
behind at some point as actors pile up in the waiting room. The last
thing you want to do in this situation is rush through auditions, as
youll miss out on having the ability to give direction and see how the
actors can really work.

Nonetheless, there are some situations where a casting director is a

great option, regardless of your budget. For instance, if youve held
multiple casting sessions and no one was clicking for you, getting a
casting director involved will change everything. They can bring out
people that you wouldnt otherwise have access to and will take care
of the difficult legwork for you. And if you do have a decent budget
to work with, its even more essential to use a casting director. They
might get you access to name talent and they will be vital to your
process in the end.

The best solution to this situation is to start bringing in actors

together. If there is a three person scene and you have actors for
each of the three characters in the waiting room, bring them all in. It
will make things more efficient and give you an even better view of
how your potential talent can work with other actors.

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SECTION 3

The Three Elements That Make Most Micro-Budget Films Fail

Many up-and-coming filmmakers are scared to make a film with no budget. They often dont have the experience to know how difficult it is to raise the
funding to make a film... and wont even consider making one on a limited budget.
While theres nothing wrong with aiming to raise a substantial
budget to make your first feature, the truth of the matter is that its
extremely difficult to do so, even for seasoned filmmakers. In order
to raise that kind of money, you need to have a calling card (usually
in the form of a low/no-budget project) so producers will trust you
with their money.

we all know from watching studio produced films over the last
several years, more money doesnt necessarily translate to better
movies. If youre eager to make a film, but money is tight, here are
three considerations that you should never overlook.

1. Story Is Everything
Technological breakthroughs in all the various facets of filmmaking
have completely changed the world of cinema and digital
production. While, in many respects, these great advances have
opened up a new and exciting world for filmmakers from all walks of

The good news is that making a film with little or no money can still
yield great results that are comparable to any well-funded film, so
long as you are creative and adopt a solid strategy for yourself. As

12

life, I would argue that the quality of independent films has greatly
suffered over the past several years.

filmmakers know how important great audio is, the audio

department is one of the first things thats compromised on lowbudget films.

It used to be that a great story/screenplay got your film made. But

with easy access to digital cinema cameras and post-tools, simply
owning the right gear (or knowing someone with the right gear) is
enough to get your film made even if it doesnt have a fully
developed story.

For smaller productions, try the Zoom H6 Handy Portable Digital

Recorder. Its a relatively low-priced field recorder with most of the
features youd find on similar (yet more expensive) recording
equipment. It takes 4 XLR inputs and has many of the same features
that you would find on a more professional audio recorder. In an
ideal world, you dont want to be rolling your own audio. A dedicated
sound recordist is always a far better choice. Nonetheless, in a pinch
you can get great results with a device like the Zoom H6 and a couple
of quality mics.

Understanding cinematography, editing, or particular uses for gear is

critical to your success as a filmmaker. However, your camera and all
the various toys you utilize throughout production are simply there
to enhance your story. You may think that you need to hyper-focus
on developing your skill set behind the camera in order for your film
to have a cinematic quality. But you need to put just as much
emphasis on the story and concept. After all, a great idea with poor
production value will go a lot further than a poor idea with great
production value.

No matter if you choose to hire a sound recordist or do your own

location sound, make sure that you put just as much effort into the
sound as the image. After all, its been proven time and time again
that audio influences an audiences experience far more than
imagery.

Look at a film like Clerks by Kevin Smith. Yes, that example is going
back a couple of decades, but even for its time, the quality level of
that film was extremely poor. It was black and white, grainy, poorly
lit, badly composed but guess what? It was a success because the
writing and the story were on point.

3. Understand Your Limitations Early On

If youre shooting a film with little or no money, you need to identify
your creative limitations early on. Keep your head out of the clouds
when it comes time to develop your idea and screenplay. So often
filmmakers with small budgets will want to write a script with car
chases, explosions, exotic locations, and other extraneous elements
and dont realize until its too late that this just isnt feasible.

2. Immaculate Location Audio

Nothing is more detrimental to your film than poorly recorded
amateur audio. If youve already made a film or two, you should
clearly understand how critical great location audio is and also
understand that poor audio can completely ruin your project. Not
having a big budget is absolutely no excuse for not capturing great
audio. It really just comes down to prioritizing it, rather than taking a
well fix it in post attitude. For whatever reason, even though most

Embrace limitations when making films with very little money.

Strategically utilize what you have around you and quickly dismiss
what is not in the realm of possibility for your film.
For example, if you have a certain location in mind for a scene, but
the permit to shoot there is too expensive, change the scene around
13

to take place in a different part of that same location where you can
get away with guerrilla shooting. This may seem like a compromise,
but more often than not, the scene will actually become stronger and
more unique by changing it around. Shooting limitations can force
originality and uniqueness in the scene.

In Summary
There are many great tips and suggestions could be made to nobudget filmmakers with regards to lighting, casting, camera choices,
and so on. However, most of these elements are secondary and the
success of your micro-budget film will rely very heavily on having a
vision and maintaining your focus. Your ability to focus on a well-told
proactive story is critical and thankfully this part of the process
doesnt cost you a dollar.
Theres nothing wrong with wanting to shoot on a great camera or
having a preference for the visual elements of your film. But at the
end of the day, whoever is viewing your film is going to be captivated
by the story, the sound, and the execution far more than the
technical merits of your visual production. Always keep that in mind!

14

SECTION 4

Five Tips for Finding a Great Film Location

Location scouting is a lot like finding a needle in a haystack it takes time and patience. Take advantage of the following tools and approaches to find a
great location for your next film project.
Locations Hub

1. Go Digital
While having an official location scout is still necessary for big
budget productions, you may be able to virtually scout a location.
Using this approach is also useful for doing a preliminary look
before you go and see a location in person.

Locations Hub is a great website for scouting because it is entirely

dedicated to locations for film not photography. This is important
because a lot of locations that are great for photography arent that
well-suited for filmmaking due to noise, traffic, etc... Youll also find
detailed maps, pictures, and website links to film commissions here.
The best part? Locations Hub is completely free to use. However,
many locations on Locations Hub will charge you to shoot there, so
be sure to do your research.

Here are a few online location tools you can access from your
desktop:

15

phone to capture pictures of your location that you can share with
your producers, lighting director, sound recordist, set designer, and
anyone else who will be a leader on set.

Flickr Map Search

On top of being a really great photo sharing website, Flickr can be a

really useful tool for location scouting. Using Flickrs map search,
users can see where photos were shot on a detailed map. Flickrs
extensive user base also makes it really great if youre looking for
something specific. Users can search their area by keywords... so if
you need to find a grungy blue wall, you can easily search for one.

There are also a lot of really good apps that can help you with
capturing your potential locations, like Panascout and Map-A-Pic.
These apps allow you capture photos with cinematic cropping.
Make sure to take a directors viewfinder with you so you can see
how your location looks at various focal lengths. This is critical. Eyes
can be deceiving. By purchasing a cheap directors viewfinder, you
can get a better idea as to what the location will look like once you
get your camera on location.

Shot Hotspot

Shot Hotspot is arguably the best location scouting website for

photographers. Shot Hotspot is selective about the shooting
locations they accept. Users can refine their search by landscape,
architecture, water, and a variety of other factors. Shot Hotspot also
ranks locations near you based on popularity.

While youre at a potential location, there are a lot of questions you

need to ask including:

In addition to these websites, there are also a lot of location specific

websites with shooting locations, especially if you live in a major city.
It may seem obvious, but do a simple search to see if there is a
location scouting website for your city.

Is there power?

Is this location near any airports?

Do I need a person to let me into this location?

2. Contact the Local Film Commission

Where are the breaker boxes?

Is the neighborhood safe?

Will there be a place for the crew to set up equipment?

Whats the parking situation like?

Are there any events scheduled for your shoot day?

Does this location cost money?

Is there a bathroom?

If youre shooting a big production, odds are you already contacted

your local film office to get film permits. A film commission is also a
great place to contact when youre looking for a potential shooting
location. Many film commission websites will have detailed maps and
photos of popular shooting locations in their area. More often than
not, film commissions are happy to work with filmmakers coming to
their area to shoot.

3. Tour In Person and Take Lots of Pictures

It almost goes without saying, but touring a location before the day of
the shoot is a must. While youre location scouting, take along your
16

Its also very important to understand what the lighting is going to

look like at the time of day you will be shooting. Your location may
look perfect at 10 in the morning, but, come 5 in the evening, you
might be dealing with shadows from trees, buildings, or electricity
poles. This is why its best to location scout at the time in which you
will be shooting.

4. Know Your Script

Dont put the cart before the horse. While you may feel inclined to
go location scouting before you have a script, its best to wait. You
dont want to show up on set and realize that the pivotal window
shot cant happen because there isnt one.

5. Take Audio Seriously

While youre at a location, talk, clap, and listen to hear if there is
anything to be concerned about. Even if it seems like a small
problem, take it seriously. You dont want to spend time fixing your
bad audio while on set.

17

SECTION 5

The Benefits of Storyboarding Your Next Film

Storyboarding is a commonly overlooked part of the indie filmmaking process. Here are some ways that your production can benefit from storyboarding.

While it may be true that storyboarding is not necessarily a

mandatory part of a filmmakers process, there is a reason why most
major feature films still storyboard every last shot.

Why You Need to be Using Storyboards

The greatest incentive for storyboarding is simply the fact that
storyboard will help you make a much stronger film by allowing you
to visualize your movie before its even made. This is essentially
your chance to create a blueprint for your film that will help you
identify any potential problem areas or missed opportunities while
you still have a chance to fix them.

Storyboards not only let you and your collaborators see the
totality of your film while in production, but they also help you get
there in the first place by helping sell your ideas more effectively to
potential investors, producers, etc. When you consider all of the
benefits of storyboarding, it will be hard to justify ever producing
another film without properly storyboarding again.

Technically speaking, you can include as much or as little detail as

you want when storyboarding, as long as the ideas are accurately
18

conveyed. By the time you get to post, your editor will be thanking
you, as the film will have coverage in all the right places, proper
transitional moments, and a slicker aesthetic.

The Basics of Storyboarding

Having now gone over some of the perks of storyboarding, Lets
very briefly break down the basics of storyboarding your film for
those of you that have never done it.

You Dont Need to Be an Artist or Designer

Its a huge misconception that storyboarding requires you to have
the ability to draw/illustrate professionally. Thats not at all to
diminish the role of the storyboard artist, as they are truly masters
of their craft and will inevitably deliver the best results. But if you
cant afford a storyboard artist or need to do it yourself, thats
perfectly okay.

Generally speaking, for every illustration (or storyboard) you create,

there are five types of shots to choose from: master, long, medium,
close-up, and extreme close-up. Sound familiar? Once youve
decided on which of the five shot types you want to go with for any
given shot, youll want to illustrate camera movement.
To depict a panning or tilting shot, where the camera either moves
sideways or up and down, youll want to create two frames to
indicate where the camera will start and where it will wind up. From
there, you can use arrows moving in both directions in order to
portray movement.

As an independent filmmaker, no one really needs to see the

storyboards outside of you and your team, and once again, all that
matters is that your story is conveyed. If you choose to storyboard
by hand, your illustrations can be as simple as geometric shapes used
to illustrate props/staging and stick figures for your characters. Or to
make things even easier, you can use any of the vast number of
storyboarding programs available to download on your computer,
tablet, or phone.

To illustrate a tracking shot, (which involves moving the entire

camera in order to follow your continuously moving subject), you
simply draw an arrow on the frame indicating camera placement
and point it in the direction the camera will be moving in.

Storyboards Strengthen Your Vision

You can also illustrate zooming, which only involves a lens and no
camera movement at all. To show zooming in (moving closer to the
subject) and zooming out (moving away from the subject, taking in
more of the scene in its entirety), youll have two frames on your
storyboard, and depending on which direction the zoom is going in,
youll either have arrows moving toward the interior frame or out
toward the exterior frame.

Your screenplay is the backbone of your film, but no matter how

beautifully written it may be, it will never translate exactly as you
might be picturing it to film. Theres a pretty common saying among
directors: if your final film looks even 70% of the way you thought it
would, you did your job really well. Storyboards play a huge part in
getting to that 70%, as they help you visualize your project in a way
thats not otherwise possible.

These are some of the basics of creating a storyboard. As you can

probably gather, its pretty easy to pick up. Just remember how
critical storyboards are to the filmmaking process. At the very least,

The last thing you want is to get to set and realize that something
about your shoot isnt congruent with the script. Storyboarding will
help you nip those issues in the bud and keep your vision alive.

19

understand some general rules/technique associated with creating

them so you can ensure they get done properly.

20

SECTION 6

Renting vs Buying: How Do You Know When to Pull

the Trigger?

With technology changing daily, the question of renting vs buying equipment is a tough one. Lets explore these options in the context of todays video
production industry.
We are at a point where technology is changing faster than we can
take advantage of it. As soon as 4K video technology jumped onto
the scene, word of 5K, 6K, and 8K was on the tips of many tech-guru
tongues.

the most important questions. Depending on your answers, this

alone may tell you which way you should go.

What Type of Project Is It and How Long Will It Take?

Is this a small project where you can shoot and edit it in a day, where
the income potential is relatively low? Or, is this a project that could
take weeks to produce, where the income potential is fairly
substantial. Lets explore this a bit

So, taking into account the rapid acceleration of technology,

filmmakers and video producers have to decide the best option for
obtaining equipment: renting or buying? First lets look at some of

21

For smaller projects, renting equipment is often the most

economical choice. Sites like Lens Pro to Go and Borrowed Lenses
have streamlined the rental business through online ordering and
offer relatively inexpensive pricing.

Lumoid

If youre working on a longer project, say, a feature film or television

series, it may make the most sense to purchase the equipment and
then sell it upon completion of the project. Many reality television
projects (that require tons of cameras) work this way.

Abel Cine

hello@lumoid.com
(800) 683-5690

customerservice@abelcine.com
(888) 223-1599

Depending on the amount of usage, you may be able to sell the

camera for close to what you bought it for. That number will likely be
even closer if you bought the camera used.

Rent Glass
service@rentglass.com
(913) 732-4781

If you do buy used, be cautious! There is not a shutter actuation

count for video like there is with DSLR photo usage. Be sure to
inspect the camera for any scratches, check for dead pixels, ask
about the repair history, and ALWAYS test shoot with it before
handing over money!

How Many Projects Are You Producing in a Year?

Lets say that youre a filmmaker who does commercial work and you
produce three to four projects each month over an entire year. Is
renting still your best option? If youll be using the same camera in
most projects, it would obviously make sense to purchase; renting
that Canon 5D Mark III once a month would cost you much more
than its $3,000 purchase price. Theres an old saying that goes If
you have to borrow a tool more than once, you should probably go
ahead and buy one.

The other option would be to buy a camera and keep it, but youve
got to factor in how many times you plan on using it to see if its a
worthwhile investment.
To help in finding rental options, heres a list of rental providers.
Borrowed Lenses

The most important thing is to be realistic. For instance, if youre on

an elaborate campaign for a client, dont immediately run out and
rent or buy the equipment just for that campaign. Look ahead and
ask yourself how often youll use this equipment. Dont anticipate
that youll need the camera often until you start renting and
shooting with it consistently. Then make the leap.

help@borrowlenses.com
(650) 508-3370
Lens Rentals
support@lensrentals.com
(901) 754-9100
22

Be Responsible About Your Investment

Each option has its strengths and weaknesses. When you rent, youll
get the most current equipment that likely comes insured through
the rental provider. Additionally, the rental company should be able
to quickly find you a replacement camera if the equipment is
defective for some reason. With renting, youll have the freedom to
switch cameras. But just like any rental setup, you wont have any
equity in the equipment.
When you buy, you dont have to travel to pick it up or wait for it to
ship. Protect your camera and gear investment by insuring it. Dont
assume its covered under your normal homeowners insurance. You
may require a personal articles policy or even a business insurance
plan; some insurance companies require this if you are making
money off your equipment.
This additional cost may pay for itself in spades if your camera takes
a bath or goes missing.

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SECTION 7

Five Tips For Getting Great Film Locations For Free

Skimping on location can leave your film feeling amateurish and cheap. Heres how you can get A-list locations for next to nothing!
Production value is one of the most important elements during any
filmmaking process, as having a film that looks high end not only
helps connect with the viewers more effectively, but also keeps the
perceived value of the project higher. This is key when it comes time
to sell or license the film.

on locations and it really shows. It could be argued that your films

production value would benefit more from using incredible
locations than shooting on a less-capable camera. Here are some
tips to help you score those amazing locations while maintaining
your budget.

Filmmakers today clearly understand the importance of production

value, which is why the internet just about explodes every time a
new camera is released. Sadly, there is often little emphasis placed

Dont Be Afraid to Ask

No matter what youre shooting, chances are some (if not all) of the
locations may be available to you through friends and family. You

24

need to be careful about going down this road, as you dont want to
simply use locations out of convenience. After all, your best friends
apartment might not look like the luxury condo that you wrote into
your script.

order to get the free permit, but if you do your homework, you might
just score some amazing exteriors for free.

Guerrilla Shooting
While some areas offer free permits, there will be times that you
want to shoot in a very specific location and there is no free option
that you can sub out for it. In these situations, you might want to
consider shooting guerrilla style.

But when there is a location that you need, and that a friend or
family member has access to then ask! The worst thing that will
happen is that they say no, and in the best case scenario you just
landed a killer location for free. And remember to never take
advantage of the situation. Giving them a credit on the film or taking
them out for dinner can go a long way.

In a lot of cases, scenes can be reworked to avoid overly complex

setups or heavy dialogue. If youre in a tough situation, consider
trimming your scene down a bit and getting some high productionvalue shots by going guerrilla. Just be sure that if you cut any
important moments out of those scenes (in order to achieve them
more easily without a permit), that you work them back into the
script somewhere else.

Strategic Partnerships
In a lot of shooting scenarios, you can likely offer product placement
or credit to a location or business that may be willing to help. For
example, if you need to shoot in that previously mentioned luxury
condo, you might be able to contact a real estate agent that will let
you shoot in one of their properties in exchange for a credit on your
film.

Also, proceed with caution. Shooting guerrilla can lead you to get
your gear and footage confiscated. You can also get fined. So be
careful and be ready to deal with the consequences if they arise. Go
guerrilla at your own risk! And always look out for the safety of your
cast and crew.

If your film is in any way substantial, you truly will be doing them a
favor as well, so try to think of which businesses might be willing to
help in exchange for easy publicity.

Shoot Out of Town

Free Permit Areas

Pretty much every major city (especially LA and NYC) are very in the
know about film productions, and as such it is much harder to shoot
in a metropolis. In major cities, so many of the people that you will
talk to about shooting (business owners, home owners, etc.) have
already been through the ringer... and in some cases gotten burned.
So they are unlikely to let you do it unless youre paying them the big
bucks.

For exterior locations, permits are always the biggest hurdle, as

many public areas can cost thousands of dollars a day to shoot in.
The good news is that there are actually loads of areas that dont
charge for film permits. And sometimes theyre just a stones throw
away from your original desired location.
This is something that you really need to look into, as you would
probably be surprised to learn that a lot of fantastic locations can be
had for nothing at all. You will still need production insurance in

For these reasons, shooting out of town could be a really great

option, especially on a project that requires loads of different
25

locations. In smaller cities and towns, people are generally far more
open to filmmakers. They see it as something exciting and fun, as
opposed to a possible threat to their property.

26

SECTION 8

8 Questions to Ask Yourself When Deciding on a Script

Have you written or receiveda script for your next project? Here are eight questions to ask before moving into production.
There are a tremendous amount of scripts written every year.
Conservative estimates began at 30,000-50,000 scripts, and thats
only including those filed with the Writers Guild of America (WGAe
& WGAw).If scripts filed for copyright are included, the number can
easily go up to 100,000.

So what does all this mean to you as a filmmaker? If you find a script
that you can get behind 100%, then you have found a very rare
story. Here are some questions to ask before you get your film
moving.

With all those scripts floating around, it must be easy to find your
next project right? Wrong. According to the latest Scoggins
Report, only 90 specs were sold in 2014

It seems like an easy question, but it really isnt. When it comes to

deciding on a project, you must be willing to give your whole life to
seeing it through. That means you need to be emotionally involved

1. Why Do I Want to Tell This Story?

27

with every character. You need to know every little detail in order to
make this project a reality.

Ill tell you a story: there was a dark point about three years into the
making of the film. The pressure was mounting. We were
approaching a screening and I went for a walk the weekend before,
going, Shoot, its just not working. What if I just quit and move to
Mexico what would I miss the most? And I thought, well, my
friends. But then I thought, the people I really feel close to are the
people that, yeah, Ive felt happiness with, but also they are people
that Ive beenpissed off at, and scared for. The subject matter Im
dealing with in this movie is the key to relationships. So I got
electrified, went back, talked to the guys, we rewrote the script, and
that was a major turning point in the film.

If you don think you need to know every character, just look at D.B.
Weiss andDavid Benioff, the showrunners of Game of Thrones. The
duo actually got the green-light for the show when an HBO
executive saw Benioff working out in the gym while readinghis
annotated copy of his Game of Thrones book. Thats the type of
dedication a project requires.

2. Why Am I the Best Person to Tell This Story?

You cannot only dedicate yourself to a script, but you also have to
believe in yourself. If you dont feel like you have the ability to see a
project through to its completion the way it should be done, then
youll begin to question your own abilities. Dont be afraid to walk
away from a project if you dont believe in yourself. A bad film can
destroy your mentality.

4. Am I Willing to Dedicate Months or Years to This

Project?
Isthe story so great that you are willing to dedicate yourself to the
project for years? You dont know what obstacles await, and your
production could be halted. Are you willing to wait to make this film?

If you do believe in yourself, dont just rely on your skill. Really push
yourself to do something youve never done before. This is a chance
to not only hone your skills, but to create a project that you can
cherish forever. You need to believe that you are the perfect person
for this job, and that no one could ever do it better.

For a great recent example, look at director George Miller. His 2015
film Mad Max: Fury Roadreceived rave reviews, and the film was
heralded as an all-around spectacular action film.You may not know
that the film was stuck in development hell for 20 years. Miller
reacquired the rights to Mad Max in 1995.It took three more years
until he had his story in place.

3. What Is My Emotional Connection to This Script?

As mentioned in the first question, you need to become emotionally
involved with every character. You also need to become emotionally
attached to the story itself. What is the true meaning of the film?
What do you want your audience to take away after the credits start
rolling?

He was set to start filming in 2001, and then the events of

September 11th postponed the project. Then turmoil in Namibia, the
location of the shoot, postponed the project further. Principal
photography didnt begin until July 2012.

5. How Long Is the Final Product?

This was something incredibly challenging for director Pete

Docteras he was reworking his film about emotions, Inside Out.

Is this a full-length feature or a short film? That is one of the first

things you need to decide. If its still very early in your career, making

28

any film over 30 minutes in length can be an incredibly daunting task.

The length of the film will also help determine the length of
production. You have to take into account the budget and time you
have to make this project. From there you can decide the length you
want to aim for.

7. How Many Actors and Crew Members Will the Project

Need?
Now that you have looked at the story itself, what about the
practical necessities for bringing the story to life? How many
characters do you need to cast? How big of a crew do you need?
These are major factors. Not only do you need to know how many
people you need, you need to know how much each of them will get
paid.

If you cant afford the project, can you make another version? If you
are unable to make the full-length feature, try making it a short film
first. Short films have successfully turned into features. Look at
Bottle Rocket, or 2014s Best Motion PictureOscar
Nominee,Whiplash.

Will you be able to afford costumes (or even food) for the set? Are
you still going to have enough left over for your camera, lights, and
gear? This leads us to our next point.

Director/Writer Damien Chazellewas unable to secure funding for

Whiplash. He pulled one of the most prominent scenes from the film
and turned it into a short. His goal was to submit the short film to
film festivals in hopes of securing funding for the feature. The short
film was so powerful and well done, he not only secured funding, the
short won Best Short Film atSundance. The next year, the feature
was nominated for five Oscars, winning three of them.

8. Can You Afford to Make This Film?

As any filmmaker can tell you, making a film is incredibly expensive.
Every project presents even more expenses you never accounted for.
This is why many projects require multiple studios collaborating to
make a film. Trying to take on a whole project alone is nearly
impossible.

6. When and Where Is the Film Set?

Even if you cant afford it now, you may be able to afford it later.
Weve presented many examples already with making short films
first, or even waiting for years.

The setting of your film is a huge factor. Do you have the budget to
shoot an epic in the desert? Is the film a period piece? If so, go ahead
and hand over your budget to costumes. Are you able to turn this
script into a film you can actually shoot now? The best thing you can
do as a filmmaker is embrace your limits.

After all of this, you still face your decision to move forward with this
project or not. If you have not been swayed at all, and your mind is
still set on a project, get to it. Start making the film. Just know
challenges will arise, but handling problems is the greatest skill a
director can have.

The 2004 filmPrimeris a perfect example. Not only did the film have
a limited budget (approximately $7000),the script called for time
travel.The story and science behind it was so sound, the story
actually carried the film. With some creative thinking, nearly the
entire film was shot in a storage unit. A perfect example of
embracing you limits and working with your budget.

29

SECTION 9

The Art Department: Design, Construction, Decor, and Props

The art department is often the largest part of a filmcrew. Hundreds of employees make up several divisions, including Art, Sets, Construction, and
Property. Lets take a closer look.
The art department is responsible for the visual aspects of
filmmaking. This includes everything on a set, as well as the set itself.
The department is supervised by the production designer.

attention to detail. Here is a breakdown of the art department and

the duties of each member.

Throughout filming, sets must evolve. Either they are adjusted, or

new sets are constantly built. Many members of the art department
are on standby, in case any changes must be made. The positions are
incredibly creative and require an immense amount of skill and

The term production designer was created byWilliam Cameron

Menzies. At the time, Menzies was working as the art director on
the set of Gone with the Wind. He coined the term due to the films
massive scope.

Production Designer

30

The production designer is responsible for the entire visual

appearance of the film. To achieve the overall look, they will
coordinate with the art department, costume department, makeup
department, and more.

multiple art directors. If so, the main position will be the Supervising
Art Director or Senior Art Director. On smaller projects, the job of
the production designer and art director are typically combined.
The art director will analyze a script to make note of all necessary
props and special set pieces that may require an extended time to
design, build, or acquire. They will also oversee the creation of all
necessary plans that will be given to the construction department.

Theynot only work closely with the director to bring his vision to
life, they also work with theproducer to calculate the
neededbudget. The cost will depend on the type of film, whether the
art department has to achieve a modern style set, a fantasy castle, or
a sci-fi space ship.

They are also responsible for the maintenance of sets, making sure
any rebuilds or changes are made on schedule. They will manage the
creation, dressing, and striking of all sets and locations.

Depending on the production, a production designer may even be

hired well before a director. They will look at scripts to estimate the
cost needed to bring the story to life. Once a director is in place, they
will collaborate on how to best shoot the film. They will either decide
to build sets, use visual effects, or shoot on location.

Assistant Art Director (First Assistant, Second, Third)

The assistant art directors are responsible for carrying out the art
directors plans, including measuring locations and other necessary
information the production designer needs. They are also
responsible for researching and making props, assisting with model
making, and surveying sites. On larger productions, assistant art
directors will manage the smaller locations or sets.

Once decided, the production designer will deliver sketches and

outlines to the art director, who then delivers their work to the
construction department. The final sets built by the construction
department will then help set decorators and prop buyers determine
their needs for the film.

Standby Art Director

The Art Department

This is an art director that monitors the art department during

filming. If there isnt a standby art director, the responsibilities fall to
the props master and on-set dresser.

The overall art department includes a sub-department also called

the art department. This department includes the preliminary
designers who will plan the overall look of the film.

They will watch the video playback monitor to make sure all set
pieces appear as needed. They will coordinate with standby painters
and standby carpenters if any last minute changes are needed on set
during filming.

Art Director

The art director reports directly to the production designer. They

oversee the artists and designers who help create the overall look of
the film. It is their job to supervise the planning and practical design
of sets and set pieces. On large-budget projects, there may be

31

Draughtsman (Set Designer)

Model Maker

Draughtsmen are responsible for the technical drawings of sets.

Their drawings, computermodels, and physical models will include
all measurements and materials needed for construction. On many
sets, a draughtsmanin usually the first assistant art director.

When a draughtsman requires a specific model, it is the model

makers job to draw and then construct the miniatures. They can use
a range of materials to create the models, including clay, wood,
metal, plaster, and plastic.

Concept Artist (Illustrator)

Art Department Coordinator

A concept artist works on a specific set piece. This includes

thedesignof creatures and monsters, all the way to the look of a
space ship.

With the large amount of employees in this department, the art

department coordinator is responsible for monitoring daily
operations. They will work among the various departments to verify
that all sets and props are ready on time. They will also manage the
departments budget, and schedule the sets construction, dress, and
strike.

Graphic Artist

This position creates physical graphic elements for a set. A graphic

artist will create newspapers, posters, fliers, contracts, logos, signs,
etc.

The art department coordinator will also create location notes.

These detail everything from details of construction, needed set
dressing, and props. They will use these notes to gain licenses and
permission for location shoots, as well as verifying health and safety
protocols are met.

Storyboard Artist

These artists will turn a screenplay into a set of detailed illustrations.

Storyboard artistswill create storyboards, which the production
team uses to plan out every shot. These visualizations are often
created well before shooting begins.

Sets
Set Decorator (Stylists)

The set decorator is responsible for decorating a film set. This

includes furniture, drapes, fixtures, paintings, and overall decor. They
are also responsible for dressing props, which includes everything
from cars and animals to dishes and household items.

The storyboard will show the entire film from the point of view of
the camera. It will show camera angles, a characters actions and
position, as well as all other major elements needed for a shot.
They will also list any necessary movements on screen, like a
character jumping or an object falling.

Set decorators also work with product placement and acquiring

approval to use copyrighted items. Prior to a shoot, they will
photograph all items and assign them to each set. On set, they will
manage the swing gang and place everything in the appropriate

32

place. After the shoot, they will make sure the set is broken down
and that everything is returned to the responsible rent house.

Construction Department
The construction department is responsible for building the actual
structures that make up the set. Framing walls, doors, or
constructing entirebuildings.

Leadsman

The leadsman or lead man is in charge of the set dressers. They

direct the crew that places all the furniture, drapes, and dressing
props on set.

Construction Coordinator (Construction Manager)

The construction coordinator oversees the entire construction

department. They order all construction materials, schedule
workers, and supervise the actual building of the sets.

Set Dresser (Swing Gang)

Set dressers (also called the swing gang)place and remove all
dressing props. They are responsible for practically everything on
the set: furniture, rugs, drapes, lamps, decor, doorknobs, etc.

Head Carpenter

The foreman of the carpenters and laborers.

Swing gang is most often used referring to the on-set dressers, those
making any last-minute changes prior to cameras rolling. Any parts
of the set that are not permanent are referred to as the swing set.
These are items that can be move around on set or easily removed if
they dont workfor the overall look of the shot.

Carpenters

Buyer

Key Scenic

The buyer is the one responsible for purchasing or renting set

dressing. They work with stores or rent houses to schedule
deliveries and purchase any necessary dressing props.

This artist is responsible for surface treatments. The key scenic can
paint wood to give it an aged or distressed look. Theyalso make
props look more realistic, like painting foam to look like a rock or
brick. They can also paint a window to look like stained glass.

Carpenters are the expert wood workers on set. The build, install,
and remove wooden structures. The not only construct the actual
physical set, they also make any wooden props and furniture.

Greensmen

Painter

A greensman is a set dresser that is specialized in landscape and

plants greens. This includes real and artificial plant life.

A painter is responsible for the final appearance of a set. They are

responsible for all surface preparation, priming, painting, and
finishing. The can also apply special finishes, like marbling or
graining, to sets.

33

Plasterer

Weapons Master (Armorer)

These artists apply plaster to walls, ceilings, and floors. They also
create molds for interior and exterior walls, or use fiberglassto
create intricate panels like on a spaceship.

This prop manager is in charge of all firearms,swords, or other

weapons. They are also trained and licensed to use the weapons, and
will often collaborate with the stunt manager and actor to maintain
set safety.

Sculptor

Sculptors typically create large set pieces like busts, statues, or

elaborate miniatures. They use an array of materials, such as foam,
clay, metal, and wood.
Property Department

The property department, orprops,is responsible for all practical

movie props. These are not included in the set dressing or costume
department, but rather used by an actor in a scene. This includes
food, firearms, swords, or specific items like a proton pack or custom
vehicle.
Props Master

As thechief of the property department, theprops master is in

charge of finding or making practical props. If the film is a period
piece, they are responsible for making sure that the props are
accurate to that era.
Prop Maker

The artist or technician that creates custom props. This can includes
creating any type of casings, or wiringelectronics to make a
functioning prop.

34

SECTION 10

How to Get Hired as a Video Professional

There are many outlets for employment in the video industry, its simply a matter of positioning yourself so you are visible and well-represented to
employers.Heres how to get hired as a video professional.
Sometimes, you might find yourself searching for work in a certain
niche that you think you belong in, but its important you dont let
preconceived notions limit your access to quality opportunities. For
example, many video producers come out of school certain that they
will become professional, classically-defined filmmakers but,
frankly, those jobs are limited.

produce beautiful work in areas you may not be thinking about

(often with the added bonus of a more preferable work/life
balance).

Networking
Regardless of your field, the single best way to get work is through
people you know. Start early and dont ever stop!

If you havent already, consider other kinds of production, like

commercials, reality television, or even corporate marketing and
training videos. There are many opportunities to be creative and

Even if you are still in school, use that opportunity to create

connections! You are surrounded by a built-in network of people

35

who are preparing themselves to go out into the work force. They
may not be a professional resource in the near term, but foster
relationships with people who are smart and who are driven, or who
you find common ground with, because, down the line, those
relationships will be very valuable when you are looking for
employment.

bring your business cards, and show up! For most filmmakers and
video producers, networking is unpleasant. The hardest part is
making yourself actually show up and walk through the door, but
once you are there, youll find others that are happy to talk to you
(because theyre uncomfortable, too!). In fact, a great ice breaker can
be, Man, I always feel so awkward at these, dont you?

Networking in school is a less formal version of the practice, but the

value is that you can foster the relationship on a personal level
without any of the baggage of the quid pro quo nature of most
professional interactions. Relying on family members can be a mixed
bag, but often reaching out to relatives can be beneficial, too (they
should have a vested interest in your success, after all!).

If youre not comfortable talking about yourself, be prepared to ask

questions of others. In fact, its good practice to have a few prepared
questions you can ask others about themselves. It helps keep a
conversation going and some people really enjoy the opportunity to
talk about what they do. How did they get into their profession?
What kinds of projects have they worked on? If you hear something
you can relate to or youre interested in, use that as an opportunity
to share a little about yourself or ask follow-up questions.Just
remember, the more often you can rally yourself to attend these
events, the easier they get.

If you are post-graduation, dont give up on tapping into that

network. Get involved in alumni organizations or reach out to the
career center at your school and ask them for ideas for organizations
or clubs to join. Connect with old friends online and, if they are
working in your field, reach out to them.

Go Searching
Producers want to find a talented crew that they can trust and will
always be on the lookout for those people. Beyond networking, they
use other resources to fill open positions.

The goal cant always be to find a job directly from those in your
network. A great way to utilize those youre connected to is to ask
them for warm introductions to people that may be in their
network. Look at their LinkedIn profiles to see who they are
connected to and if you find anyone who you may be interested in
meeting, ask them to write a simple email of introduction. The
recipient will be far more likely to talk to you or help you out if they
know you have a mutual connection.

One great resource is Staff Me Up, a production-specific, nationwide

job posting site.
Look for gigs on your states film commissionor entertainment
departments website for listings. These sites can also inform you of
work limitations in your state, like union or guild requirements.

For professional networking events, look on Facebook, LinkedIn, or

MeetUp.com for industry organizations in your area. Good keywords
in this search are [Your Town] Producers Association or
Filmmakers Group. Find an open meeting or networking event,

Your Resume
You work in a creative field and employers want to see a creative
resume (if you are applying for a job that requires a resume).
Submitting a plain-text Word document may not necessarily hurt
36

you, but it wont do anything to help you stand out from the rest
either. A quality resume is an effort multiplier it takes some time
to do it right, but it will continue to yield you better results every
time you use it down the road.

With regard to social media, if your personal profiles are public, you
need to be especially careful. Just be mindful of what you are putting
out there into the great ether that is the internet. As Susan Adams
withForbes.com put it:

Use Behance.net or other resume design sites to look at designers

resumes to find inspiration for yours. If youre not comfortable
building something from scratch, download a resume template.

Keep private things private, while assuming nothing is truly private.

Its important to be present on social media sites like Facebook and
LinkedIn because it allows people to get a better sense for who you
are. Use these platforms to promote your work, if possible. Share
production stills or industry related article or blogs you like.But keep
in mind that what you post can hurt you too (especially as election
season rolls around).

Take time to get the wording just right. You can find lots of advice
about what content to include in your resume. Then go the extra
mile to double and triple-check each sentence and the visual layout.
Be sure to watch your spacing and alignment; we work in a visual
industry and those who will employ you want to know that you can
identify visual errors. Also, spelling or grammatical errors will
irritate an attention-detailed producer, and may automatically
disqualify you from employment, depending on the temperament of
the employer.

The bottom line is that, if you look for them, there are opportunities
to connect all around you. Whether its faceto face or online, engage
with others and be prepared to share your experience and
knowledge. And dont limit yourself by what you think you should be
doing. Sometimes its worth it to take a low-paying Production
Assistant gig if it means you can form relationships with new people
youd like to work with or get to know. Be mindful, be intentional,
and dont give up!

If you dont have a lot of credits to your name, make sure you have a
well-written summary statement that highlights your abilities, your
competencies, and your goals.

Your Online Reputation

The first thing many employers will want to see is your website and
portfolio, so make sure those are updated with your latest and best
work.
Almost always, if you work in production, you need a reel of your
work. Depending on the types of projects or the clients youve
worked with, you may not be able to use certain collateral. Ask them
if its okay to use samples from content they own. Sometimes you
can use clips as long as you dont use the original audio. If youre not
sure, its best not to risk copyright infringement!
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38

SECTION 1

Ten Essential Filmmaking Tools Under $100

Filmmaking can be an expensive career, but there are certainly deals to be had. Come in under budget with these ten filmmaking tools that are as
affordable as they are essential.
Working as a filmmaker often comes with a hefty price tag. To help
ease the strain on your wallet, weve done some bargain shopping
and found some filmmaking tools that you can put in your kit
without breaking the bank.

1. Canon 50mm F/1.8 II

50mm lenses are a great investment and can be had for those on a
budget. The Canon 50mm F/1.8 II is probably one of the most
affordable lenses out there and the image it produces is great.
Yongnuo has also released an affordable 50mm 1.8 knockoff
version.

Note: the links in this section are examples of where you can
purchase this filmmaking gear. These are not sponsored or affiliate
links. We encourage you to purchase at your favorite gear store!

2. Spider Rig
Most filmmakers like to have their camera mounted to some type of
shoulder rig or grip system. For DSLRs, you can essentially have

39

both mount styles in one Spider Rig. These rigs are really affordable
and have a wide flexibility range.

They produce a nice quality flat sound, which is what you want when
capturing audio or mixing.

3. Camera Cage

8. Rode VideoMic GO

Maybe you dont need the whole rig and you just want a sturdy and
tough camera cage with a top handle. There are a wide variety of
options here. A simple search on eBay brought back a number of
cages that are below $100.

So now you have headphones. Check. But how are you capturing
your recordings? We recommend Rode if youre on a budget. While
it doesnt capture the kind of audio as Rodes NTG line of shotgun
mics, it captures quality sound for the price tag.

4. Yongnuo LED Light

9. Tascam DR-05 Portable Recorder

Sometimes you need more light to really capture a great shot on the
fly. There are many options out there to help solve low-light
problems, but one of our favorites is the YN-300-II from Yongnuo.
Its sturdy, bright, and exceptionally affordable.

Okay, we have our headphones and we have our mic, so what are we
recording to? For that solution, we suggest looking at the Tascam
DR-05. This portable recorder is great for those on a budget and its
fairly easy to use.

5. Hoodman Compact Collapsible Viewfinder (For Canon

LCD)

10. Lowpro Photo Sport Sling 100 AW

Well, now we have all of this new gear. Where are we storing it? Take
a look at the Lowpro Photo Sport Sling. It has dual compartments
and plenty of space to hold all of the new equipment weve picked up.
Bonus: You can also tie your Monopod to one of the bungee straps
on the side!

In some situations, there can be so much light that you really cant
see the LCD screen on your DSLR. For those moments, youll want to
grab an LCD Viewfinder. We found a Hoodman Compact Collapsible
Viewfinder to be a solid option.

6. Benro A48FD Series 4 Monopod

On documentary film shoots where the pace is quick and frantic,
using a tripod is really out of the question. Instead, I run with a Benro
Monopod, which Ive found to be a really quality product at a great
price.

7. Sennheiser HD 280 Pro Headphones

You can never go wrong with a great pair of headphones like the
Sennheiser HD 280. These headphones were recommended to me
by several musicians, as well as a composer I frequently work with.

40

SECTION 2

How to Spot Counterfeit Camera Gear

Not sure if that equipment is legit? Does that deal feel too good to be true? Avoid getting scammed and learn to spot counterfeit camera gear with these
quick tips.
Unfortunately, not all camera gear is created equal. In fact, some
pieces of equipment are created simply to trick users into buying
them. Lets look at a few tips for helping you spot counterfeit
camera gear the next time youre on the market for new equipment.

2. Where Are You Buying It From?

1. Look for Misspellings

3. Instruction Manuals

Misspellings, whether intentional or unintentional, are an

immediate sign that your equipment is fake. Give your equipment a
quick look. If theres something misspelled, its a fake.

Fake equipment almost always comes by itself in a box. So, if theres

a manual included in the box, its a good sign that the product is real.
This also applies to equipment purchased online. Sure someone

Buying from a reputable seller is everything. Look for reviews and

ratings regarding your seller. If they have low ratings you can be
assured that theres something sketchy going on.

41

could probably fake a manual, but scammers likely wont make the
effort.

9. Clear Printing
Printed information on genuine equipment is almost always
incredibly sharp and easy-to-read. Counterfeit equipment, on the
other hand, tends to be lower in quality including written content.
You wont see illegible text on official equipment.

4. Look for a Warranty

Almost every piece of new equipment comes with a one year
warranty included in its box. If a warranty isnt in the box, you can
bet your lens is a fake. Its also important to note that boxes are easy
to fake. Just because your equipment is in official-looking boxes
doesnt make it legit.

10. Test the Equipment

Test the gear! If youre buying a piece of camera equipment in
person, you should always test the gear before you buy. If the seller
wont let you test the camera that should be a huge red flag. Even if
youre wanting to buy your equipment online, its good practice to go
to your local camera store and test the camera to make sure it is a
good fit for you.

5. Serial Numbers
Most professional equipment comes with a serial number located
somewhere on the exterior. If your piece of equipment doesnt come
with a serial number, then theres a good chance its fake.

6. Does it Fit?
Official equipment such as lenses, adapters, and rigs will be
incredibly snug. If you hear things moving around when you lightly
shake the equipment, theres a problem. This is especially true when
buying camera lenses or adapters. Good adapters should fit lens
mounts perfectly with no slippage.

7. Too Good to Be True Prices Usually Are

The online camera market is incredibly competitive, so its no
surprise that online stores are always trying to undercut each other
in terms of price. However, if you find a piece of equipment for half
the normal retail cost, its probably a fake or, even worse an empty
box!

8. Holograms
Most of the popular camera manufacturing brands have official
stickers that feature holograms. These stickers are hard to replicate,
so theyre great indicators of official equipment.

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SECTION 3

Nine Questions to Ask When Buying a New Lens

Thinking about buying a new lens? Here are nine things to consider.
As my fellow sufferers of Equipment Acquisition Syndrome know,
its always exciting to add a new lens to the arsenal. Before you do,
ask yourself these nine questions.

1. Do I really need a new lens?

Fact: Getting a new lens will not make you a better photographer or
videographer. If you dont have the basics down (composition, value,
color theory, lighting, etc.) you likely arent getting the most out of
your current lens.

43

Until you can take good photos with the lens you have, theres no
good reason to drop $1000+ on a new one.

4. What is the T-stop?

Whereas an F-stop is a mathematical formula, a T-stop is an actual
reading of the amount of light that a lens sends to the camera. A Tstop is typically used by cinematographers more than
photographers, but the information is none-the-less important.

2. Does this lens fill in any focal length gaps?

Can you shoot an extremely wide shot of a small room? Can you
capture a brides face from across a chapel? Do you have the right
lens for the job? If youre going to invest in a new lens, make sure
youre working toward having all of your focal lengths covered.

5. What kind of stabilization does it have?

For those unfamiliar, stabilization on a lens is typically described in
terms of stops. This means a lens with 2 stops of stabilization will
allow you to shoot with a shutter speed that is twice as slow,
allowing twice as much light to hit the sensor.

Get a good standard prime and multi-purpose zoom lens to start.

From there you can begin to get into more specialty lenses like fisheye, hyper-telephoto, and macro lenses.

Stabilization is one of the most underrated features on a lens; a little

stabilization can go a long way to make your images and video higher
in quality. Speaking of quality

3. What is the F-stop?

6. How is the image quality?

Specs are one thing, but the actual quality of the final images/video is
another. Before you buy a lens, you should examine the image
quality. Websites like DPReview and PhotoZone give detailed
reviews of virtually every lens on the market. Just because a lens is
fast doesnt mean its necessarily sharp. Do your research!

7. Is the autofocus fast and accurate?

If you primarily shoot video, you likely wont use autofocus very
often. However, photographers will want to invest in a lens with
great autofocus. Keep in mind, cheaper camera lenses like Tamron
and Sigma tend to feature slower autofocus abilities than their
name-brand counterparts.

An F-stop is a mathematical formula that figures out approximately

how much light a lens will let to the sensor. Practically speaking, a
lens with a lower F-stop number allows more light through the lens,
capturing a more out-of-focus background.

This isnt an issue when shooting a stationary subject, but when you
start shooting moving subjects at events like weddings, autofocus
becomes a very important issue.

Its a good rule of thumb to get a lower F-Stop lens if you can afford
it, but F-stop isnt everything. You also need to consider the T-stop

44

8. What is the minimum focus distance?

Cheaper lenses tend to have minimum focus distances that are

extremely far, which can be aggravating if your subject is close. For
example, a 50mm lens with good macro capabilities can get better
close-up images than a 200mm lens with bad macro capabilities.
When youre searching for your new lens, take the time to look at
the minimum focus distance.

9. Why am I buying a new lens?

A brand new lens is almost always going to work perfectly right out
of the box. However, buying a new lens is a lot like buying a new car:
As soon as you put it on your camera, it will lose 30% of its value.
Buying a used lens from a credible dealer might be a better option.
Many dealers offer a 30-day return policy on their lenses, and even if
you have a lens for more than 30 days, you can likely unload it on
eBay for close to what you paid for it.

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SECTION 4

Lens vs Camera: Which is a Better Investment?

Every year, high-end digital cinema cameras get released, effectively rendering their predecessors outdated. Should you invest in new lenses instead?

Its quite common for the first generation of any electronic product
to have technical issues, and unfortunately, its usually the users
that support these cameras early on that end up getting the short
end of the stick. Not to mention that they often need to wait so long
to get their gear that, by the time it actually comes in, theres
already a next generation camera around the corner that probably
has better specs at a lower price point. For these reasons and more,
many filmmakers, DPs, and other creative pros who are considering
investing in camera gear are choosing not to. For many, renting

cameras on a project-to-project basis has become the way to go, and

for others a different investment has become preferable lenses.
Here are three reasons why lenses are a far better investment
today than camera bodies.

1. They have more longevity.

A great piece of glass is timeless. You could take a vintage lens from
40 or 50 years ago, mount it to an ARRI ALEXA, and the results will
be amazing as long as the lens was kept in good condition.
Unfortunately, the same cant be said for cameras.
46

Many production companies and producers own camera gear, so if

you are brought onto a production that already has a RED DRAGON
for instance, you could sweeten the deal by offering to bring your
Cooke Primes to set with you, which may very well help you land the
gig and up your rate. Not to mention these lenses can be used on
your own cameras at any point too, and will continue to work for
years to come as new camera bodies continue to come and go.

3. They rent better.

Just about everyone wants to invest in a RED or an ALEXA so that
they can rent it out, either directly or through a rental house. The
problem of course is that so many people are doing this now that
rental houses are flooded with these cameras. Many shooters that
have invested in expensive digital cinema cameras end up finding it
extremely difficult to rent them out. The cameras end up collecting
dust on a shelf somewhere. Lenses however, will always rent better.
Far fewer people are investing in great glass, and lenses (as we saw
in the previous point) are so adaptable that a single lens kit will be
relevant to far more potential productions than a camera body
would be. In other words, a production thats looking to shoot on
ALEXA isnt going to want to rent your RED camera but they very
well might want to rent your Schneider PL Mount lenses.

Many years ago, when film was still the standard, a DP could invest
in a film camera (like at Arriflex SR2) and use that camera for years to
come. At that time, technology didnt move nearly as fast, and the
camera was a much smaller part of the overall equation with regards
to image quality.
If a new film stock came out, that stock could be used in an old
camera and that camera could potentially capture images that were
on par with a new film camera. Unfortunately with digital, that is
obviously not the case. The good news is that lenses do still have the
longevity that film cameras once did. If you invest in a really high
quality lens kit, those lenses are going to stay relevant for many
years to come.

2. You can use them across multiple cameras.

One of the greatest things about lenses is the fact that they are so
adaptable. A camera is just a camera. It does what it does, until its
either outdated or breaks down and then its replaced. Lenses, on
the other hand, are far more universal and can be used on any
camera that you buy, rent, own, or are asked to shoot on.

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SECTION 5

The Five Lens Filters Every Video Shooter Should Own

Post-production and color grading can go a very long way in making your images look amazing. But in order to achieve a truly cinematic image, its what
goes in front of the lens that matters most.
When DaVinci Resolve Lite was released for free, just about every
editor and shooter I knew became an amateur colorist. At around
the same time, many of my colleagues had started shooting with
RAW cameras, or cameras that could shoot to ProRes. They started
to overemphasize the post-production process to the point of
neglecting some traditional elements of cinematography.

almost become an afterthought for many enthusiast level DPs, as

they mistakenly believe that they can replicate the look of any given
filter in post.
If you want to achieve the most cinematic image possible, you need
to get as much done in camera as possible. Lets take a look at the
use of lens filters, as they are silently becoming a forgotten trick of
the trade. The first two are the most critical (you may already own
them), but the others are also extremely valuable.

The general trend over the last few years has been to fix it in post
and focus far more on color grading and post-processing than
nailing the image in camera. As such, the use of lens filters has

48

ND filters can be purchased as a kit and stacked together to bring

down the overall exposure in small increments, or a variable ND
filter will get gradually darker as it is rotated. Variable NDs are the
easiest and fastest to use on set, but are often lower quality and can
cause a slight color cast on your image.

1. UV Filter

3. Polarizer
Next to an ND filter, the polarizer is arguably the most important
creative filter that every DP should have. Polarizers effectively cut
out glare, reflections, and other unpleasant sources of light without
darkening the entire image substantially. In very simple terms they
are designed to cut out the light that you dont want in your image,
but leave all of the light that is giving you your exposure.

UV filters do exactly what it sounds like - filter excess UV light from

hitting your lens/sensor and negatively affecting your image.

Polarizers are particularly useful when shooting through a car

window or any other piece of glass thats causing a reflection. The
filter will help the camera see right through the glare.

Truthfully, most modern cameras dont really require a UV filter.

However, you might consider buying one simply as a means to
protect your lens (and investment).

They also work beautifully when capturing shots of the sky and
clouds, bringing out fine detail and an overall richness that isnt
possible without them.

Many professional shooters like to keep a UV Filter on their lenses at

all times to protect the surface of the lens from scratches and also to
take the impact if the lens is dropped. You need to be careful when
using UV Filters, as some of them can actually cause strange
reflections/flares when shooting, but its just good practice to keep
one on your lens whenever possible. Just remember to take it off
before shooting if your lens in prone to flares.

4. Diffusion
With todays cameras being as overly sharp as they are, theres never
been a better time to own a diffusion filter. As the name implies,
diffusion filters soften your subject slightly and can often create a
beautiful, very subtle glow around certain parts of of the image.

2. ND Filter
If you dont already own an ND filter kit (or a variable ND), you need
to get one. If youre new to this ND filters (essentially) are like
putting sunglasses on your lens. They allow you to control the
exposure of your image without having to adjust your shutter speed,
iris, or ISO setting. They are invaluable to have and a complete
necessity for achieving specific depth-of-field looks in camera.

When diffusion filters are used with soft cameras, they can often
create a final image thats almost too soft and somewhat dream-like.
However, when coupled with cameras like the Lumix GH4 or Canon
C300, which are very sharp to begin with (almost to a fault), they
help to get the image looking less digital and more organic.

49

5. Color Filters

Color balancing filters can effectively warm up, cool down, or

otherwise add some sort of color effect to your image. Custom white
balancing and color correction can certainly replicate the look of a
color filter easily, but the end result will never be exactly the same.
These filters are especially useful if youre shooting with a camera
that doesnt allow for custom white balancing or recording to a
heavily compressed format, as they will allow you to capture your
look in camera and avoid having to grade the image too heavily in
post. That said, they can be fun to use and experiment with
regardless of which camera youre using. They often create
unpredictable and unique stylistic effects.

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SECTION 6

Ten Things to Know About Mirrorless Cameras

Thinking about getting a mirrorless camera? Here are ten things you need to know.
Mirrorless cameras have been increasing in popularity over the last
few years and for good reason. They offer many benefits over
traditional DSLRs.

2. Mirrorless Cameras are Small and Lightweight

Because mirrorless cameras dont have a mirrorbox mechanism,
they tend to be smaller and lightweight. For example, the Sony a7S
is only a little over a pound thats half the weight of the Canon 5D
Mark III. While it may not make a big difference on a professional
shoot, if you do a lot of street photography, a lighter camera can do
wonders for your shoulders.

1. Mirrorless Cameras Arent Limited to Cropped Sensors

Even though most popular mirrorless cameras are cropped, its
possible to have a full-frame mirrorless camera. For example, some
cameras like the Lecia M9 and the Sony A7 are both full-frame and
mirrorless. Having a full frame sensor is important because it allows
you to get wide shots without having to use an expensive fish-eye
lens or a Speed Booster.

3. Mirrorless Cameras Dont Have Mirrors

Do you know what mirrorless means? In short, a mirrorless
camera is different than a DSLR because it doesnt use a mirrorbox
51

to send the image to the viewfinder. Instead, when looking into the
viewfinder on a mirrorless camera, you are actually viewing a digital
representation of the image as it passes through the sensor.

lens mounts range from the high-end Leica M mount to the

consumer level Samsung NX Mount.

4. Mirrorless Cameras have a Shorter Flange Focal

Distance than DSLRs
A flange focal distance is the distance from the end of the lens to the
camera sensor. In a DSLR, the flange focal distance must be large
enough to allow space for a mirror. In a mirrorless camera, you dont
have this issue.

You definitely wont have to look long to find an amateur mirrorless

camera, but the same could be said about DSLR cameras. You might
be surprised to hear that mirrorless cameras arent just entry or midlevel cameras they can actually get pretty high-end. Luxury
camera manufacturers like Leica have camera lines that are entirely
mirrorless.

5. Speed Boosters Make Mirrorless Cameras Much More

Viable for Video Production

9. Mirrorless EVF Viewfinders Give You In-Line Exposure

Read-Outs

Its no secret that most mirrorless cameras have cropped sensors.

This is normally a problem because of the difficulty in capturing wide
shots with a cropped sensor. Speed Boosters not only increase the
incoming light of your lens, but they also make your overall image
wider.

If you regularly shoot photography with a DSLR, then you know that
even with an exposure meter you can get results that are vastly
different from what you expected when you clicked the shutter
button. However, when you use a mirroless camera, youre actually
looking at a small video screen instead of an optical viewfinder. This
can be better because it gives you an accurate image readout
without having to take a picture and review how it looks.

8. Mirrorless Cameras Arent Just for Amateurs

6. Some Mirrorless Cameras Can Shoot 4K Video

Many popular mirrorless cameras, like the Panasonic GH4, allow
users to shoot in 4K. Gone are the days of mirrorless cameras being
behind when it comes to resolution. Other mirrorless cameras, like
the Sony a7S, can output 4K via HDMI. While its safe to say that the
market isnt quite ready to watch/broadcast videos at 4K resolution,
having the ability to record 4K is a great way to ensure your camera
is future-proof and gives you more options in post.

10. Mirrorless Cameras are Silent

Because mirrorless cameras dont have a mirror box on the inside of
the camera, they dont have to flip a mirror up when shooting a
picture. For this reason, the operation of a mirrorless camera is
quiet. This is a great feature if you shoot live events like weddings.

7. Mirrorless Cameras Can Take More than Just MFT

Lenses
Although the large majority of mirrorless cameras natively have a
micro four thirds lens mount, there are a number of mirrorless
cameras that accept other types of camera mounts by default. These

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SECTION 7

How Do Camera Shutters Work?

Lets slow time down and take a look at how different camera shutters work.
Theres nothing like the sound of a professional camera shutter. Its
become so synonymous with photography that digital cameras and
phone cameras often have a fake sound effect to make the
photography experience more authentic.

looking through a series of mirrors that get their light directly from
the lens. When you click the shutter button, that system of mirrors
flips upwards to allow light to pass to the sensor. This is why the
viewfinder goes black for a short amount of time when taking
photos.

But have you ever wondered about the process behind that magical
sound effect?

Once the mirror is flipped upwards, a small door will move from top
to bottom exposing the sensor beneath. After that, another door
will fall down, covering up the entire sensor. This process can vary in
time depending on the length of your shutter speed. Sometimes a
shutter speed can be so fast that your camera sensor wont be
entirely exposed at any one time.

How do DSLR shutters work?

When it comes to a DSLR camera shutter, there are three basic
mechanisms: the mirrorbox, the bottom door, and the top door.
When you look through a DSLR view finder, you are essentially

53

After the second door closes, your mirror will fall back into place.
The doors will then reset to their original positions underneath. This
entire process from mirror up to mirror down is known as an
actuation. A typical DSLR can withstand over 100,000 actuations in
its lifetime.

images. However, In the age of digital photography, the landscape is

certainly different. Modern sensors are fully capable of taking
photographs without a mechanical shutter.
Smaller consumer cameras like point-and-shoots and phone cameras
are all examples of shutterless cameras. Shutterless cameras tend to
have more image noise in the image than their traditional shuttered
counterparts. This is because shutterless cameras constantly send
power to the sensor. When a user hits the shutter button, the sensor
is flooded with more power and the image is captured. If youre
familiar with ISO, you know that more power equals more noise.

How do mirrorless camera shutters work?

Unlike DSLRs, mirrorless cameras dont use a mirror box or
pentaprism to project light directly into the viewfinder. Instead,
when using a mirrorless camera, the sensor is perpetually exposed to
incoming light by default with nothing in between. This is why
mirrorless cameras use either an LCD screen or an electronic
viewfinder to monitor whats coming through the lens.

We will likely see professional shutterless cameras in the future, but

for now theyre simply too grainy/noisy for most high-end
professional photography.

As soon as the user hits the shutter button, a door will swing up to
cover the sensor. Once covered up, the sensor will begin exposing.
The door will then swing down to expose the sensor to light. After
that, another door will swing down to cover the sensor. The sensor
will then stop exposure and the doors will reset.

How do shutters work when capturing video?

When shooting video, the shutter process is much different. Because
a typical still camera can only activate its shutter mechanism about
six times per second, the physical shutter doors are far too slow to
shoot video (which is typically shot in 24 or 30 fps). Instead, when
shooting video (or in the live-view mode) your shutter doors and
mirror are left open, leaving your sensor perpetually exposed.

Why do cameras still have mechanical shutters?

Instead of relying on mechanical processes, the shutter speed when

shooting video is only a reference to a timed amount of power that
goes through the sensor. This is known as an electronic shutter. After
each frame is captured, the electronic shutter resets.

What is a global shutter?

Before the existence of digital sensors, it was vital that your camera
have a mechanical shutter. Why? Because you cant simply turn film
on or off like a digital sensor. Pre-developed film is light sensitive,
meaning any exposure to outside light severely damages your

Although the name would insinuate that its simply a type of shutter
process, a global shutter is more of a camera-sensor-related feature.
When it comes to camera sensors, there are two main categories
that you need to know: CMOS and CCD.
54

CMOS sensors are more common among consumer and prosumer

cameras, but theyre also more problematic. This is because CMOS
sensors read pixel information from the top left of the sensor to the
bottom right. Heres why thats a problem: if your subject is
incredibly fast and moves position during capture, youll get warped
images. This is known as rolling shutter and it can produce some
pretty annoying jello effects, especially when shooting video.

traditional film (movie) cameras, you have to calculate your shutter

speed yourself. Rotary disks have the shutter angle (or the size of the
pizza slice - see chart), listed on their blades. DPs can then go in and
determine what the shutter speed is by calculating the shutter angle
with the frame rate.

On the other hand, CCD sensors (or global shutters) will record the
entire frame at once, very similar to a film camera. This eliminates
warping and leaves you with a more pleasing image.

What is a rotary disk shutter?

Rotary disk shutter only pertains to actual film (movie) cameras. As
you probably already know, a film camera works by exposing 24
individual film frames to light per second. The result is fluid motion
that gives the illusion of movement. As you can imagine, the
mechanical processes already covered in this article (known as focalplane shutters) are far too complex and time consuming to be
performed 24 times per second. Instead, a film camera uses a rotary
disk shutter.

If you are looking to shoot on film in the near future, there are a lot
of really good online resources to help you figure out your shutter
speed. Its also not uncommon to see shutter speed displayed by
shutter angle when shooting on high-end cinematography cameras.

What in the heck is a leaf shutter?

This shutter looks very similar to a fan. In short, the rotary disk
rotates on the inside of the camera body, exposing the film to light
and then covering it up again with the blade of the disk. The rotary
disk process works in 3 steps: under the cover of the disk, the
camera film moves into place, the disk allows light in, and then the
disk covers the frame. Repeat this process 24 times per second and
you have yourself a moving picture.

A leaf shutter is a shutter that functions inside of a lens. Instead of

acting like a door or a fan, a leaf shutter works a lot like a lens
aperture.
You wont find leaf shutters in everyday cameras. Typically they are
only found in medium-format high-end photography cameras. They
can function at higher flash sync speeds (up to 1/1600), making them
great for anyone who wants to shoot outdoors at a low F-stop with a
strobe. Because these lenses are handcrafted rather than
manufactured on an assembly line, they tend to be incredibly
expensive.

The thing that makes rotary disk shutters truly unique is the way in
which the shutter speed is calculated. In modern cameras, you can
select the exact shutter speed you want for your image. But in

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SECTION 8

Seven Tricks for Keeping Your Camera Equipment Organized

Clean up the clutter with these seven tips for staying organized on set.
In the chaos that is a film set, it can be difficult to stay organized.
When your attention is torn between directing, cinematography, or
whatever else the shoot demands, its hard to keep track of all your
equipment. Here are a few tips for keeping it all organized.

1. Label Makers

equipment in the green-labeled bag. There are tons of ways to

utilize labels for your individual purpose. Label makers are cheap
use them to your advantage.

Labeling your equipment is the best way to stay organized on set.

You can guarantee your equipment doesnt go home with someone
accidentally by purchasing a cheap label maker. You can also colorcode the labels to correspond with respective bags. For example, if
you have a lens with a green label, your crew will know to put that

56

2. Make an Equipment List

5. Tackle Box

You should have a record of all the video/film equipment you own, if
only for insurance purposes. Organize this list by equipment type
(camera, lighting, audio, etc). Next, modify this master list into a
checklist with two checkboxes next to each piece of equipment.
Print off a new version of the checklist each time you head out on a
shoot and check off each piece of equipment youll be taking with
you. This checklist serves two purposes:

From adapters to microfiber wipes, it can be extremely difficult to

keep up with all the small pieces of equipment necessary for making
a film/video. Instead of simply throwing all of your small parts into a
random zipper in your camera bag, try using a tackle box instead. I
recommend getting a clear tackle box that is clear and has moveable
dividers that will better accommodate different-sized gear.

1. What type of shoot is it and what equipment will it require? By

going through the checklist, youll be able to quickly ascertain what
you need and what you dont. Add a check to the first checkbox each
time a piece of equipment gets packed. By going through this list,
youll minimize the chances that youll show up to the set without a
crucial piece of gear.

Losing a memory card can be one of the most heartbreaking

experiences for any filmmaker. Instead of going through this awful
ordeal, purchase a memory card wallet. These storage cases will also
keep your cards safe from the elements. Make it a habit on set to
ALWAYS add a used card to your memory card case when you pull
out a new one. This will ensure that you only have one card out at a
time.

7. Get a Card Wallet

2. When the shoot is wrapped, go back over the list and add a check
to the second box when you verify that you have each piece of gear.
This will minimize the chances that youll leave gear on set or
confuse it with someone else's property.

7. Labeled Lens Caps

Got a bag full of lenses? Labeled lens caps make it easy to quickly
grab the right lens from your camera bag, as they are labeled with
focal lengths. Brands like LensBling make versions of these caps, or
you can easily create your own by labeling the caps youve got.
Labeled lens caps also make it easier when you are working with
production assistants who might not know an 85 from a 24.

3. Sectioned Bags
You dont have to spend a lot of money to get a good sectioned
camera bag. These bags offer greater flexibility because they can be
changed and manipulated to accommodate your individual needs. Be
sure to get one with velcro sides that allow you to change the layout
of the bag at will. Im a big fan of LowePro bags for their durability.

4. Velcro Cable Organizers

Velcro cable organizers are a great way to manage your cables on
set. Youll be able to easily identify cables by their color (very useful
on long cable runs), as well as keep them tidy during storage.

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SECTION 9

Nine Tips for Shooting in Cold Weather

Keep your equipment safe when shooting in cold weather.

Thinking about shooting in cold weather? Check out a few of these
tips.

2. Carbon Fiber Tripod

It doesnt take a rocket scientist to figure out that a cold metal
tripod in cold weather is a bad idea. Instead of freezing your fingers
off, try using a carbon fiber tripod. Carbon fiber tripods are great for
shooting in extreme temperatures. Theyre also extremely
lightweight when compared to their metal counterparts.

1. Avoid Cold Soaking

Cold Soaking is allowing your camera to become as cold as the
environment around you and you want to avoid this. Allowing your
camera to reach sub-zero temperatures is a recipe for disaster, as
most cameras arent created to withstand subzero temperatures.
Keep your camera in its case until its time to shoot. In extreme
temperature scenarios, it may be beneficial to include additional
insulation in your camera bag.

3. Bring Extra Batteries

Batteries drain faster in cold weather. So next time you have to
shoot in extreme cold, make sure you pack two to three times your
normal supply of batteries.
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cold-weather photography or filmmaking, it might be worth it to get

a few.

4. Use Hand Warmers

Small hand warmers are a lifesaver in cold weather and they can
serve a variety of other purposes. For example, a small hand warmer
can be placed in your camera bag to regulate the temperature.

8. Get a Coated Lens

Most modern day lenses come with special coatings that allow them
to withstand the elements. This is especially important when
shooting in cold weather, as its easy to get things like snow and
condensation on the lens. If youre considering renting a lens, check
to see if it has a specialty coating.

5. Bring ND Filters
Snowy weather is bright even when its overcast. For this reason, you
should bring your ND filters along. ND filters cut out incoming light
and allow you to use a wider aperture even in bright conditions. This
is really important if you are wanting to get a shallow depth of field.

9. Winter-Proof Cases
There are a few winter-proof camera cases you can buy to protect
your camera gear, including the Camera Duck which goes for about
$130 on B&H. Camera Duck also sells large warmers designed to fit
over their weather covers.

6. Gradually Go from Cold to Warm

Problems may arise if you quickly go from a cold environment to a
warm one; condensation can form on your camera and lens. Its best
to allow your camera to slowly adjust to room temperature.
One trick is to keep your lenses in Ziplock freezer bags, allowing
them to acclimate to the temperature change before opening.
Adding silica gel packs in the baggie can help alleviate any humidity.
If condensation gets inside the camera or lens body, it can
permanently damage the hardware. In these extreme scenarios it is
best to let the camera completely dry out before attempting to use it
again.

7. Dehumidifiers
One way you can significantly cut back on condensation is to put a
dehumidifying pack in your camera bag. Just as you might imagine,
these packs are designed to absorb moisture, making your camera
less likely to experience damage as a result of condensation.
Lens cap manufacture BRNO make dehumidifying lens caps that
have silica gel built-in. If youre going to be doing a lot of outdoor

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SECTION 10

Buying Tips: Tripods for Video

Dont cheap out on your camera support! Investing in a quality tripod and fluid head is a smart decision for the future expansion, performance, and
safety of your gear.
Build quality in a tripod has a huge impact on the final image for
both filmmakers and still photographers.

Avoid Center Columns

Tripods with height adjustable center columns introduce a lot of
vibration and instability to your camera rig. Theres a reason
professional quality tripods dont have center columns: the
engineering will not provide enough stability. If youre looking for
adding height, go with a tripod that has longer legs.

Inexpensive tripods are often shoddily constructed, made from

aluminum or a similar thin metal. This flimsy construction makes the
tripod prone to breaking and doesnt provide strong stabilization.
Conversely, investing in a more expensive, higher-quality tripod will
provide a more stable image, a longer product lifespan, and
additional peace of mind when you go to shoot. Are you in the
market for a new tripod? Make the following considerations

Avoid Aluminum, Stick With Carbon Fiber

Aluminum tripods are usually much more prone to vibrations than
tripods constructed of carbon fiber. Aluminum has a longer

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dampening time, meaning vibrations are much more prevalent and

travel easier throughout the tripod.
Carbon fiber has a much shorter dampening time, containing and
minimizing vibrations with every camera movement or bump of the
tripod. Although lightweight tripods tend to cost more, they do not
necessarily perform better.

Load Capacity
Every tripod will have a maximum load capacity, ranging from 7-10
lbs for cheaper models and upwards of 50 lbs for higher-end types.
This is where a little planning can go a long way. Selecting the right
tripod for your needs (and future needs) is key to your tripod
investment.
Factor in the weight of your camera and the weight of any other
equipment that will be rigged onto your tripod. As previously stated,
account for the future when you might add more equipment to the
tripod. A teleprompter, monitors, lights, field recorders and
microphones all add weight. Never plan to be at or near your tripods
load capacity. If you have a 20 lb rig, a tripod rated at 30 lbs will
obviously perform better (and safer) than one loaded to capacity.

Head & Bowl Mount

Not all tripods come with a fluid head. Its important to use a quality
head with the appropriate counterbalance and weight load. Tripods
that use bowl systems are the most widely used by professionals
because its easy to level and balance a fluid head in a pinch to get
that perfect shot.

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SECTION 11

What You Need to Know When Buying a Used DSLR

In many cases, buying a used DSLR allows you to get a lot of bang for your buck but theres a lot to consider before deciding to drop your hard-earned
cash.
One of the greatest barriers to filmmaking is the amount of money
you need to invest in yourself and in your projects. This is especially
challenging for new filmmakers who dont have a lot of money to
spend on equipment. Between lenses, camera bodies, lighting, and
accessories there is only so much money to go around, and this
doesnt include the money youll need to actually fund your projects.

investment. As such, here are a few key tips for purchasing used
DSLRs below to help you make the right choice.

Buy from Non-Professionals

Professionals are notorious for treating their camera gear poorly. In
production, a camera isnt typically treated well as there are many
different hands on the camera and its being used day in and day out.
For this reason (among many others), buying a DSLR from a
professional shooter is likely going to mean that the camera youre

Its not all bad news though, as these days theres more used gear on
the market than ever especially with regards to DSLR bodies. The
key is knowing what to look for in order to make the right

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buying has a lot more wear and tear on it than if you were to buy if
from a consumer.

Dont Forget to Inspect the Sensor

Whenever anyone inspects a camera they want to buy, they tend to
inspect nearly everything (the body, the viewfinder, LCD screen,
etc.), but the sensor. As I stated earlier: even if the camera looks
amazing on the outside, there might be issues lurking beneath the
surface that you need to identify as soon as possible.

I have personally bought loads of used cameras from consumers, and

often theyve barely been used at all. So whenever possible, look for
inexperienced shooters to buy gear from. They usually keep it in the
best condition possible.

The biggest and most common of these issues are scratches or

imperfections on the sensor. You need to be very careful about
buying used gear. The seller may not be completely truthful about
the condition of their DSLR, and sensor issues are relatively common
in older cameras. Be sure to shine a light at the sensor before signing
off on the deal and make sure everything looks nice and clean so you
can put your mind at ease. If you dont do this, you will be kicking
yourself down the road when you notice major issues with your
footage.

Always Check for Shutter Count

A camera may look fine on the surface, but check the shutter count if
you really want to know how much its been used. The shutter count
shows you the amount of actuations that the shutter has completed.
This will give you a relative idea of how long the shutter has left
before it will need to be replaced.

Buy Last Years Model

Theres really no sense in buying a used camera if you are purchasing
the current years model. Most of the time, if you are buying the
most current model of a camera second hand, youre not going to be
getting a great deal on it and youll likely not be getting a warranty.

Always Test Shoot with the Camera First

For many reasons, including those stated above, its extremely
important that you test shoot with the DSLR you want to buy before
committing to the sale. Whether there is a sensor issue, a recording
problem, a faulty LCD, or any number of other common problems,
you likely wont know theres an issue with any given DSLR until you
actually shoot with it.

The whole point of buying used equipment is obviously to save

money. If you arent really saving much, do yourself a favor and
cough up the extra couple hundred bucks to get a current camera
model that will give you the peace of mind of knowing you have a full
warranty.

I would recommend that you not only shoot with the camera, but
also look at the footage on a proper monitor to ensure that there
arent any noticeable problem areas or artifacts that may not have
been visible when playing it back in the camera. Always bring an SD/
CF card and a laptop (or card reader) with you when checking out a
used DSLR, and dont be shy about taking test shots.

If youre set on buying a used camera though, make sure to get last
years model as thats the only way youre going to save any
substantial money. In many cases, the current model of a camera is
not going to be that far off from its predecessor (with regards to
specs), so dont buy into the hype that you need the latest model to
make your work look good.

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SECTION 12

Understanding Lenses: What is Focal Length?

Mastering focal length is the first step to understanding how a lens works.
The most important information to know when looking for a camera
lens is the focal length. Focal length tells a photographer or
videographer a lot about how the image is going to look. The shorter
the focal length, the wider the angle of view and vice-versa. Lets
dissect (mostly) everything you could ever want to know about focal
length.

wide angle lenses, but most photographers just call them fisheye
lenses. Due to size exaggeration, wide angle lenses are great for
shooting landscapes, real estate, and architecture.
Telephoto lenses are any lens with a focal length of 85mm or higher.
They are usually very long in length, making them easy to identify.
Telephoto lenses are generally used to shoot objects that are far
away, making them ideal for capturing weddings, wildlife, and
events.

Types of Lenses
Lenses are often broken down into three different categories: wide,
telephoto, and standard. A wide angle lens is any lens that is 35mm
or smaller. Lenses that are wider than 24mm can be called ultra-

Telephoto lenses usually have more glass elements inside than

wider lenses, making them generally more expensive. In fact, youve
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much-cheaper base price than their wide and telephoto

counterparts.
These lenses are the Goldilocks of lenses (not too wide, not too
telephoto), making them perfect for shooting portraits, medium
shots, and general photography.
Technically speaking, a lens is considered standard or normal if it is
close to the diagonal length of the camera sensor in millimeters.

Zoom vs. Primes

Lenses with focal lengths that can change are called zoom lenses and
those that remain fixed are called prime lenses. When comparing
equally priced prime and zoom lenses, prime lenses will usually
produce a better image.
This is because zoom lenses require many moving parts that hinder
lights ability to move through the lens. Professional photographers
do use zoom lenses for their work (like the Canon 70-200mm), but
its more typical for high-end productions to use prime lenses, as
they let in more light. Lenses that come with a camera (kit lenses) are
usually zoom lenses.

probably seen an expensive telephoto lens at a sporting event.

Telephoto lenses can be broken down into two further subtypes:
medium/standard telephoto (85-300mm) and super telephoto
(300mm+). Telephoto lenses usually create a very blurry
background, making them
ideal for isolating your
subject.

What is Focal Length?

Focal Length is not

Without a telephoto lens,

wildlife photography would
be a challenge.

Standard lenses are any lens

between 35mm and 85mm.
The most commonly used
standard lens is the 50mm prime or nifty-fifty as its affectionately
referred to by many photo pros. Standard lenses usually have a

The length of the lens.

Half the length of the lens.
The diameter of the lens.

Focal length is the measurement (in millimeters) from the optical

center of a camera lens to the cameras sensor.The optical center is
also known as the focal point. For all lenses (including primes), the
focal length changes depending on what the lens is focusing on. For

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example, a 50mm lens focusing to infinity will have a focal length of

50mm. But when focusing on an object 1 meter away, the focal
length needs to be moved 2.6mm farther away from the camera
sensor to be in focus. Thus what you thought was a 50mm image, is
actually a 52mm image.

Crop Factor
Not to be confused with a 35mm lens, most high-end cameras have a
camera sensor that is 35mm in length. A 35mm sensor is full-frame,
meaning it uses the entire lens when capturing an image.
This 35mm standard was designed to be identical to film cameras
which used 35mm film to capture images. So a 50mm lens on a
35mm film camera will act very similarly to a 50mm on a 35mm fullframe sensor.
However, if you are using a camera that has a smaller sensor than
35mm, you are going to experience crop factor. If youre in the
photography or video world, then you are probably well aware of
crop factor. For those who arent already acquainted, crop factor is a
phenomenon in which a lens will act more telephoto than it actually
is. So for example, a 100mm lens on a camera with a crop factor of
1.6x will have a similar field of view as a 160mm lens on a full-frame
camera.

an image that was completely out of focus. Instead, a crop factor is

actually decreasing the of angle of view. Focal length is physically
similar but angle of view changes.

When you read online about cropped sensors, youll run across
pages and pages talking about how cropped sensors have a focal
length multiplication factor. This means that if a camera sensor has a
multiplication factor of 1.5x, then a 50mm lens will actually have a
focal length of 75mm. This is actually somewhat false. As we found
out above, the only way for an image to be in focus is for the camera
sensor to be a very specific distance away from the camera. If the
focal length actually changed from 50mm to 75mm you would have

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through a glass prism, or seen a Pink Floyd shirt for that matter, then
you know that bent light will separate into different colors because
color waves move at different speeds. This happens in camera lenses
too, and most photographers consider it a bad thing. Its called
chromatic aberration.
For a digital camera, chromatic aberration occurs when blue, green,
and red light separate across three separate focal points. The result
is the skewing of colors around the edges of objects within your
picture.
Newer camera lenses have a lens element known as a flint thats
specifically designed to focus red, green, and blue light rays onto a
single point but older lenses typically do not. Good quality lenses
have minimal chromatic aberration.
Chromatic aberration is worse around the edges of an image frame,
so when youre buying a new lens, look around the edges in your
image for color shifting or purple fringing. However, if you are
intentionally trying to get a vintage look, try using an older lens with
an adapter. Youll find plenty of chromatic aberration!

Conclusion

The market offers camera adapters that increase the angle of view of
35mm lenses to reduce crop factor. These adapters are called focal
length reducers (but we know they actually mean angle of view
increasers). Cameras with a cropped sensor can make shooting wide
shots very difficult, so be sure to take that into consideration before
purchasing a lens.

Heres the most important take away: focal length is directly related
to the angle of view. There are many more technical things to learn
about focal length, but the topics discussed in this section are the
most important for understanding how it plays into both
photography and videography.

Chromatic Aberration
Remember how we talked about the focal point inside of the lens?
This point is the place in which light is directed. Unfortunately, light
doesnt always bend perfectly. If youve ever shined a flashlight

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SECTION 13

Understanding Lenses: Aperture, F-Stops, and T-Stops

What exactly does an aperture do? Lets take a look at a few must-know lens terms.
There is no lens concept more misunderstood than f-stop.
Everything about f-stops runs counterintuitive to how one would
actually think they work... but have no fear. Lets take a look at every
aspect of f-stop and how it relates to photography and video.

to a higher f-stop number (8,11,16,22) which doesnt allow very

much light.
Although the actual f-stop numbers may seem arbitrary, they
actually stand for something important. In photography and video, a
stop is a step that either doubles the incoming light or cuts the
incoming light in half. Knowing what numbers represent in stops is
very important to figuring out how much light is coming into your
camera.

What Is an F-Stop?
An f-stop is the numerical representation of the size of the lens
aperture in relation to the focal length. Generally speaking, an fstop will quickly tell you how much light your lens is letting in. A
lower f-stop number (1.2, 1.4, 1.8, 2) will let in more light compared

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Taking your f-stop from a lower number to a higher number

decreases the amount of incoming light in half. Moving two stops
higher decreases incoming light by four, and so on.

T-Stops
Filmmakers in early hollywood answered this question by coming up
with t-stops, or transmission stops. T-stops are a measurement of
how much light is actually going through the lens at any given f-stop.
T-stops take into account the percentage of light that comes through
a lens and mixes it with the f-stop number. For example, a 100mm
lens at f/2 with a light transmittance of 75% will have a t-stop of 2.3.
Similar to f-stops, the greater the t-stop number, the darker the
image. Generally speaking, t-stops are used much more in the
filmmaking industry than in the photography world.

If you move from a lower number (2.8) to a higher number (4), its
called stopping down. If you move from a higher number (11) to a
lower number (8), its called stopping up.

The Science of the F-Stop

While most people think an f-stop is an actual reading of the amount
of light that is coming through a lens, its actually far from it.

Depth of Field

An f-stop reading is a math equation for the focal length of a lens

divided by the diameter of the entrance pupil (or aperture size).
Practically speaking, this means lenses with larger apertures (low fstop numbers) tend to be physically larger than their small aperture
(high f-stop number) counterparts.

Besides indicating how much light is coming through a lens, an f-stop

indicates how blurry the out of focus parts of your image will be.
You might be familiar with the term depth of field. Simply put,
depth of field is the amount of space that is in focus in your image.
Lower f-stop numbers (1.2, 1.4, 1.8) will have much more camera
blur than higher f-stop numbers (8, 11, 16).

Take the the Canon 50mm line, for example. The 1.2 is larger than
the 1.4 and the 1.4 is larger than the 1.8. The f-stop formula also
means telephoto lenses tend to be much wider than comparable
standard lenses.

Practically speaking, this can create a problem when you need to let
in a lot of light while also needing to have a wide depth of field. A
quick solution would be grabbing a lens with a wider field of view
because they have a wider depth of field compared to a telephoto
lens. This is a common problem in the photography/filmmaking
world and the best solution is using off-camera lights.

Just because a lens has a similar f-stop doesnt mean it lets in the
same amount of light. For example, a 50mm f/1.4 lens from Canon
will probably let in a different amount of light compared to a 50mm
f/1.4 from Sigma. This is attributable to light transmission through
the lens. Due to the glass elements, its impossible for 100% of light
to pass through the lens. Most lenses allow for 60-90% of the light to
pass through. Nicer (and more expensive) models typically allow for
more light to pass through the lens.

Sharpness
You would probably think that a lens is at its sharpest when the
aperture is as wide as possible, but thats actually not the case.
Modern lenses are actually at their sharpest around f/5.6-8. This is
simply due to the science of the multiple glass elements inside the
lens. So while an image shot at f/1.2 may look super sharp due to its
depth of field, it may actually be much sharper at f/5.6.

So how are you supposed to know how much light is actually going
through your lens?

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Clicked vs. De-clicked Lenses

For most modern lenses, an aperture is adjusted by a motor that
communicates to the camera. So if you wanted to adjust your f-stop,
you would use a wheel on the camera instead of adjusting anything
on the lens.
However, if you have an old lens or a lens that is designed for
filmmaking, then you probably have an actual ring on the lens that
allows you to adjust the aperture blades. The lens will make a
clicking sound when it goes from one predetermined f-stop number
to the next. These are often referred to as clicked lenses. Needless
to say, lenses that click between f-stops are bad for filmmaking. They
will jump harshly from one f-stop to another during adjustment,
which is jarring to the viewer.
To avoid this problem, lens manufacturers sell de-clicked lenses
that can move smoothly between f-stops. If you ever need to move
from one lighting situation to another (like indoors to outdoors), a
de-clicked lens will allow you to smoothly adjust the aperture
without the audience noticing. If you need a lens to be de-clicked,
you can pay to have it done professionally. If youre really tech savvy,
you can even do it yourself but be careful. You can destroy your
lens if youre not careful.
If youre a photographer or filmmaker, understanding f-stops is
crucial to mastering your craft. Although they may seem
counterintuitive at first, over time you will be able to recall how fstops relate to light and depth of field without even thinking about it.

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SECTION 14

Understanding Lenses: Image Stabilization

Image stabilization is an easy concept to grasp, but the implications of having a more stable image go far beyond sharp photos.
At its core, image stabilization (abbreviated IS) does exactly what
youd imagine: it compensates for the movement of your camera or
lens to produce a more sharp image.

Lens Stabilization
Lens stabilization occurs deep within your camera lens, using a
system of electromagnets to move internal glass elements. When
image stabilization is engaged, your camera will activate these
electromagnets and create a spring-like suspension system where
the glass can absorb camera shake, thus making your still images
more sharp and your video more smooth.

There are two very different types of image stabilization offered in

modern cameras: lens stabilization and sensor stabilization. While
sensor stabilization may be a little easier to understand, the
majority of this chapter will cover lens stabilization, as it is most
common in professional camera equipment.

While the stabilization concept is exactly the same across every lens
brand, different names for optical stabilization include:

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Canon Image Stabilization (IS)

Nikon Vibration Reduction (VR)
Sigma Optical Stabilization (OS)
Tamron Vibration Compensation (VC)
Leica MegaOIS
Pentax Shake Reduction (SR)

However, most lens stabilizers allow users to have the sharpness

equivalent of a shutter speed three to four times slower. For
example, a lens with a 4-stop stabilizer shot at 1/8 shutter speed
should have the same sharpness as in image shot at 1/125 without
image stabilization but with 16x more light!
However, not all lenses allow for three to four stops of stabilization.
Before you buy your lens, check how many stops the stabilizer
guarantees. It makes a huge difference.

While the names may be different, they all stand for the exact same
lens stabilization method.

Having the ability to shoot at slower shutter speeds is really

important for any photographer. If you were to switch from a lens
without image stabilization to a lens with 4-stop image stabilization,
it would be like going from an f/5.6 lens to an f/1.4!

Sensor Stabilization
In sensor stabilization, the sensor moves to compensate for shake,
not the lens.
In contrast to lens-based stabilization, sensor stabilization doesnt
rely on moving parts inside the lens. Instead, as the name implies, the
physical camera sensor moves to compensate for the shift in
movement. Because sensor stabilizers require more room to shift
the output image, the lens output (the light projected on the sensor)
must be much larger than the sensor itself. That means this type of
stabilization is virtually impossible with full-frame sensors. Olympus
and Sony cameras often use sensor stabilization in their cameras.
The biggest downside to using sensor-based stabilization is that
stabilization needs to be adjusted for different lenses.

Problems With Stabilizers

No matter how steady your hands are, there will always be a little
camera shake if youre holding the camera with your hands, making
image stabilizers very useful. But if you were to take your camera,
place it on a tripod or table and leave the image stabilizer on, the
stabilizer will still try to stabilize the image even if there is no camera
shake. It may result in the lens perpetually stabilizing itself in an
endless feedback loop which can break the stabilization features in
your lens. So be sure you turn off IS if your camera is on a tripod.
Newer stabilized lenses will automatically shut IS off if they detect
the camera is on a tripod.

Why Is it Important?

Image stabilizers are important because they make your image

sharper, even at slower shutter speeds. As you may know, an image
shot at 1/125 of a second will be sharper than an image shot at 1/8
of a second. An image shot at 1/125 of a second will be four stops
darker than an image shot at 1/8.

Stay Alert! Anti-Shake vs Image Stabilization

Some lower-end camera manufacturers will try to fool their

customers into thinking the camera has built-in image stabilization
by saying it has anti-shake technology or an anti-blur mode. In
reality these features do nothing more than reduce the shutter

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speed or increase the ISO. While this isnt a feature in professional

cameras, its more common in lower-end cameras. Always check the
detailed feature specs before making a purchase!
Mode 1 & Mode 2

While older lenses with stabilizers usually stabilize for panning (left/
right) and tilting (up/down), newer lenses are increasingly giving
photographers the option to turn off panning stabilization with
mode 2. In mode 2, the lens will still feature vertical stabilization,
but will allow for motion blurring to occur during a pan. This is
important for photographers who like to shoot pictures of moving
objects with a blurred background to insinuate speed.
Is Image Stabilization Worth It?

Having the ability to shoot at a lower shutter speed is extremely

important for you as a photographer, but with more stops comes an
increased price. In fact, a lens with image stabilization is likely to be
almost double the cost of a lens without it. In the end, it all comes
down to what youre looking for.
If youre looking for the most light possible, then image stabilization
will definitely get you a bigger bang for you buck. However, if you
want a lens that gets you more bokeh or a blurrier background, then
you might want to purchase a lens with a larger aperture instead.

Conclusion
Image stabilization is arguably more important than a low f-stop
number. Before you purchase your next lens, check how many stops
of stabilization the lens will offer.

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SECTION 15

The Camera Gear You Need for Shooting Wedding Videos

Shooting a great wedding video requires as much gear as shooting a small film. Here are some considerations for everything from camera stabilization to
screwdrivers.
When shooting a wedding video, you may be overwhelmed by the
amount of gear you actually need. Here are some of the best items
for shooting the big day. These camera gear options are not only
compact, theyre ready to be used in the fast-paced wedding
environment.

wedding video, you should at least have two cameras. Three is the
best option, which gives youtwo to shoot with and a backup cam.

Stabilization
If the couple wanted shaky camcorder footage, they would have just
asked that random family member who has a camcorder. Since they
hired you, youll need to make sure your footage is as steady as can
be. Here are some considerations for camera stabilization.

Camera (and Lenses)

Obviously the most important thing you need to shoot a wedding is
a camera and some lenses. As far as cameras and lenses are
concerned, just have a backup camera ready. While shooting

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over your shoulder and does not require battery or computer

assistance to operate. Obviously they are handheld.

Tripod
The tripod is the golden standard of all stable footage. Users think
they need that latest and greatest stabilizer toy to get the best
footage, but that couldnt be further from the truth. A solid tripod
and fluid head will do more for your video than any of the following
suggestions.

Handheld stabilizers are best used during the reception. They

capture fantastic dancing footage. You can work your way in and
around the dance floor. The handheld stabilizers are also good to use
during portraits, as you can follow the couple and photographer as
theytakepictures.

The added benefit is the ability to set up a tripod and let a camera
run while you attend to other shots. It also makes a great assistant
during the ceremony. You can set a tripod in the back of the venue
and just let the camera roll while you work on another camera
angles.

Also, heres a pro tip: do not follow the bride down the isle! There is
nothing worse than a videographer or photographer getting in the
way of the ceremony. This is not your moment! Stay out of the way!
You are supposed to capture the wedding, not be part of it.

Monopod

Note that this category did not include 3-axis gimbals. While great
for filmmaking and indie productions, 3-axis gimbals are not the best
for wedding video. You cannotdiscretely move around a dance floor
with a MoVI orRonin.

Now that you have a camera on a tripod recording the ceremony on

its own, you will need something to hold theother camera you
should be shooting with. One of the best (and often cheaper) options
is a monopod.

Slider

Monopods are great for a multitude of reasons. They are compact,

lightweight, and very versatile. Many carbon-fiber monopods can
hold an incredible amount of weight. With the ability to quickly
adjust the height, you can go from a low-angle shot to a high-angle
shot in seconds.

A camera slider performs magically when it comes to b-roll. You can

easily attach it to a tripod and run around the venue capturing
everything from exteriors to table centerpieces.Adding the slightest
amount of movement can make footage much more intriguing.
You can slide along the entryway table, capturing the signature book
and photos. You can slide into an entryway to help transition from
one location to another. You can even use a slider to capture a jib
shot.

They are also great for maneuvering through crowds. In very limited
space, you can still shoot incredible footage and then get out of the
way in an instant.

Handheld Stabilizer

Audio

These tools are theSteadicam, Glidecam, Grip Handles, Merlin, etc.

This category includes pretty much any stabilizer that does not go

How you captureaudio is going to depend on the type of camera you

are using. As DSLRs are the most common cameras used to shoot
wedding video, you will need multiple audio sources. If you are using

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a traditional video camera, you may have built-in microphones or the

ability to plug in a mic via XLR.

On-Board CameraMicrophone

If your camera has a microphone built in, be sure you have it

recording. Even if you arent planning on using it, its good to have a
backup. Also, it will help you sync the footage when you are editing.

Recorder

You are going to need a versatile audio recorder. You want

something that has built-in microphones, accepts external
microphones, and allows you to plug into a soundboard.

If you are using a DSLR, you will need to attach a microphone to get
passable audio. It should be noted that adding a mic to a DSLR still
isnt going to be the best option. The cameras were not designed to
capture optimal sound. Just use it as a backup.

If you are working with a great DJ, then you can easily plug into the
DJ soundboard (if they let you). Be wary of this, as no two DJs are
alike. You could end up getting a terrible mix that you cant use. Be
sure you have plenty of backups in place as well, like an audio feed to
your camera or an additional recorder.

Audio Cables

Make sure you have plenty of cables handy. You will at least
wantXLR, 1/4 inch to 3.5mm, and RCA audio cables at the ready. You
will need these to plug into the DJ soundboard, any venue speakers,
and into the audio recorder.

Wireless Lav Microphones

To capture quality audio while being as discrete as possible, you will

need a wireless lavalier microphone. The best option is to attach a
lav to the officiant and a second lav on the groom. They can easily
put the transmitter in their pockets.

Lighting
You wont be setting up any three-point lighting during the ceremony
or reception. However, you will want something you can use in a
pinch. The best option is to use an LED light that you can use on
camera, handheld, or on a stand.

If you only have one lav, the officiant is often the safer bet. They are
the ones talking during the whole ceremony. Be sure to tell the
officiant they need to be close to the couple so you can pick up the
vows.

A small LED light is portable and easy to toss in your bag. Odds are
you wont really need it until the reception. The DJs light setup may
provide a great look. If not, just have a light ready for any low-light
situations.

Dont even try to attach one to the bride.It should go without saying,
but there is no way they spent all that money on their beautiful
white dress for you to attach an ugly black transmitter to the back of
it.

Miscellaneous Support Gear

Alongside all of this large camera gear, here are some of the smaller
things to take into consideration. This camera support gear will make
everything go much smoother.

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Quick Release System

Tools

Dont waste time attaching your camera to different systems. Make

sure you decide on a single quick release system, that way you can
leave a quick release plate on your camera and just quickly snap into
place.

Here are some essential tools to have in your bag: gaff tape,
extension cord, surge protector, allen wrench, screwdriver, multipurpose tool. All of these will come in handy at some point. Make
sure you have the right sizes and types of tools for your gear. Itll be
hard to tighten a flathead screw with a phillips screwdriver.

Memory Cards & Case

You will need a ton of memory cards. As mentioned before, shooting

a wedding video is just like shooting a small-budget film. Avoid trying
to shoot everything on a large card. Having multiple cards may be
seem tedious, but if something goes wrong its easier to lose 16GB of
footage rather than 64GB.
You will also want to keep track of which cards you have already
used. You can lock SD cards, but you may forget to do so. One of the
easiest things to do is putting all your cards in a case in the same
direction before the shoot. Then as you use a card, simply put it back
in the case upside down or backward.
Filters

Many weddings are going to be shot outdoors. Be sure to have filters

for each of your lenses.
Batteries (All Kinds)

Have plenty ofbatteries for all of your various needs. Be sure to

have camera batteries, AA, and 9V batteries for your audio recorder
or microphones, as well as batteries for your lights. If you dont have
enough batteries, be sure to set up a charging station so the
batteries will be good to go when you need them.

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78

SECTION 1

Three Hacks for Shooting Without a Focus Puller

Cinematographers on low-budget indie films are often required to operate their camera while also pulling focus. Here are some hacks to make this
situation less frustrating.
The role of a focus puller is critical on nearly any professional set.
The skills required to accurately pull focus in challenging situations
are independent of the skill set required by the cinematographer,
though there is some crossover.

deliver the desired creative results. In my opinion, the frustration

usually stems from attempting to act as both DP and 1st AC, as
opposed to setting up the shots in a way that allow for a single
operator/focus puller.

Even if a DP also happens to be fantastic at pulling focus, they are

often busy with the camera and keeping an eye on lighting. In these
instances, a dedicated 1st AC can make a world of difference on set.

Here are three hacks for working without a dedicated 1st AC.

All that said, there are many situations where DPs need to fly solo
these days, which can lead to frustration when they are unable to

Tracking shots are one of the most common shooting challenges

when theres no focus puller on the crew. When following an actor, it

1. Attach a String to Your Talent to Maintain Your Distance

When Tracking

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can be extremely difficult to keep your shot in focus, as the talent

will always be walking at a slightly different speed than you.

3. Avoid Unnecessary Pulls

When youre used to working with a focus puller, you might tend to
take them for granted and simply assume that every shot needs a
focus pull. In reality though, there are loads of scenes that dont
require focus pulls at all.

As you can imagine, this is a nightmare when it comes to pulling

focus. Unless youre shooting with a very high f-stop (leaving nearly
the entire image in focus), your talent will drift in and out of the
focus plane every few steps.

If you can get away with shooting a wide shot at infinity (and it still
works for your story), then go for it. Or if you want to use selective
focus to isolate a character in a scene, intentionally avoiding pulling
focus to their scene partner, that could be a great technique too as
long as it serves the story well.

Attempting to pull focus yourself when shooting like this is usually a

terrible idea, since by the time you move your focus to compensate
for the talents movement, youve already lost them again.

2. Always Use Peaking and Never Use Markers

Using marks on a follow focus is one of the fundamentals of pulling
focus for a 1st AC. But when youre pulling focus yourself, you need
to learn to throw that out the window entirely.
Even if your shot is locked off on a tripod and youre simply pulling
focus between two characters on alternating lines, you still shouldnt
be diverting your vision to the follow focus for too long, as it will
inevitably take you away from the monitor.
If one of the actors moves in a way that is slightly different from the
blocking, you may very well miss it if you arent 100% visually
focused on the monitor at all times.
For this reason, I always recommend using focus peaking whenever
possible. Peaking is often used by 1st ACs to lock in their focus
marks. Its sometimes then turned off so the DP can see the image
without the strange effects of the peaking on the monitor.
When shooting by yourself though, its critical that you learn to
constantly shoot with focus peaking on. Rely on it solely, as its truly
the only way you can achieve critical focus without taking your eyes
off of the monitor.
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SECTION 2

How to Create a Low-Budget Film That Feels Like a Blockbuster

Trying to get a movie made with minimal financial backing can be frustrating, as tough decisions need to be made early. Check out these tips for creating
a killer low-budget film.
Sure, you can get your crew to volunteer or call in favors to get your
locations for free, but there are also risks associated with cutting
corners that can directly result in your film suffering on a creative
level. So how do you create the very best film with a minuscule
budget?

your budget down as they pertain to various departments on a

typical small-scale film.

Casting a Low Budget Film

Skimping out on casting is the number one issue that most microbudget films suffer from. When dealing with a low budget, its
tempting to call up your actor friends and ask them to give you a
freebie, but this is generally a bad idea.

There are places where you can afford to cut corners... and there are
places where you absolutely cant. There may not be an exact
formula for this, and of course every production has its own set of
requirements and needs, but here are some thoughts on keeping

Unless your friend is exceptionally talented and youve written a

role with that person in mind, you will end up casting the wrong

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person for the role. And ultimately that will be a very bad starting
point for your film. Thats not to say that your friend isnt a good
actor, but simply that they may not be the right person for the
project. Dont simply cast them because they are free. Cast them
because they are good and they deserve the role.

it down to the bare essentials, these film crew members should be

able to cover your basic needs.
Its also a good idea to pay every last one of your crew members.
Dont be too tight with the budget in this department. Youre better
off having fewer crew members that are paid than more crew
members that are volunteering. Your crew is the lifeblood of your
project. Unlike actors, who at least get the visual recognition of
being in the film, your crew is literally hidden behind the scenes and
often dont get the recognition they deserve.

This however, doesnt mean that you need to spend an arm and a leg
on your cast. Set up a real casting session (at an affordable location)
and bring out actors that are willing to work on deferred payment or
for their portfolios. You can absolutely get talented actors on board
with your film who are willing to donate their time, if you in turn
provide them with something of value the script.

With that said, if your budget doesnt allow you to cover their normal
rates, then defer their payments and offer a smaller day rate to cover
their expenses. You want your crew to be happy. If you dont show
some good faith, then they will lose interest in your film and that will
affect it negatively in many ways.

If youre going to get actors to come out for free, ensure its worth
their while. Give them the opportunity to play an amazing role and
treat them well throughout the process. You want to find people that
are as much a part of the film as you are.

Locations

Crewing a Low-Budget Film

When producing a low-budget film, you can and should get most of
your locations for free but that doesnt mean they should look like
you got them for free. In the same way that you should try to avoid
casting your friends as actors, avoid asking your friends or relatives
for locations unless they are exceptional.

There are certain crew positions that are essential to even the
smallest of productions and others that (while equally important)
may be able to be covered by other crew members. In general, the
crew members you should have on every shoot are:

Cinematographer
Location Audio
Grip
Makeup
Production Assistant

If your character is supposed to be a starving artist, but you shoot in

your friends brand new condo, well, thats not going to be very
convincing. And since you dont have an art department, you cant
even set decorate it to look the way you want it to.
Unfortunately, a small budget means you dont have the option of
writing anything and everything that youd like into your script. This
truth especially translates to locations. In other words, just having a
house doesnt make the house the right house for your movie. Of
course, you have other options.

Are there other extremely crucial members that arent on this list?
Of course. Ideally your DP will want an AC, and your Grip will want a
Gaffer to work with. But the truth is that when you are forced to boil

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The easiest solution would be to rework the scene so it takes place

anywhere else you may have access to. A coffee shop or park, for
instance. Kevin Smiths Clerks is a perfect example of utilizing the
locations that you have. He worked at a convenience store and
wrote the story around that store as thats what he had access to.
Thats exactly what you should do, too.

Camera
A lot of micro-budget films blow way too much money in the camera
department. Many filmmakers (especially those without a camera
background) overestimate the importance of the camera and
underestimate the importance of the DP and lighting. As a result,
they will often spend a massive part of their budget on renting a
camera and leave next to nothing for the rest of the project. Theyre
shooting 5K resolution, but still capturing poor actors and ugly
locations.

For outdoor locations, you also have the option of shooting guerrilla
style, without permits or permission. Films of all sizes have done this
successfully and theres no reason you cant do it too. However, if
you want to do go down this path, you need to take into account the
risks involved and be willing to take responsibility for the
consequences. In some cities you may get fined and even have your
equipment confiscated. If you decide to do this, proceed with
caution.

If you or your DP own a 5D, GH3, Pocket Camera, or any other good
DSLR/video camera, consider using it. A good DP will be able to
make your DSLR footage look gorgeous.
Another option is to buy a used camera and sell it at the end of your
production. In this case, you still may be looking at a DSLR, which are
extremely affordable.

Food
You need to ensure that your cast and crew are fed well and fed on
time, as thats really the least you can do for them given the
sacrifices they are likely making to be a part of your film. With that
said, there are still ways to save money in this department.

Production Design
Although you may not have the budget to pay for a dedicated
Production Designer, you still need to pay a lot of attention to the
production design department. With good production design,
average cinematography can look Oscar-worthy. Obviously with bad
production design, the opposite is true.

The first rule here is that you need to plan. If you dont know what
youre getting for lunch, youll wind up ordering individual meals for
your cast and crew every day and you will very quickly be over
budget. Instead, consider making some food yourself and bringing it
to set, as long as its still good quality. Pizza or subs are okay for a day
here or there, but dont do it for every meal.

How you pay attention to this category is up to you. You may want to
take the extra time yourself to source props/materials to make your
locations work for you, or you may have someone else on the crew
who can take your direction and step in.

In general, with a healthy mix of making your own food and ordering
affordable bulk meals that have been planned, you can save a ton of
money in this area.

While you or your crew may not be experienced in production

design, the fact that you are paying attention to it and making an
effort at all will go a long way. If you can afford a dedicated

83

Production Designer, then by all means bring one on board. If you

cant, that doesnt mean you shouldnt do anything at all.

quality of your final product. When you cut the budget, prevent a
negative ripple effect on your film by making up for it in other ways.
Usually this comes in the form of putting in more time.

The other thing to consider is if you really have no time or resources

to do the Production Design yourself (or hire a Production
Designer), then choose locations that work well without it. Spend
some extra time looking for the perfect locations that are already set
up exactly the way you picture them in your head. When you find
those locations, your need for additional help in this area isnt as
strong.

One last suggestion: let your micro-budget set feel like a larger set. A
big issue that plagues many films of this scale is that the cast and
crew lose interest after a few days. They stop believing in the project
due to the size and nature of the production.
If you make an effort to treat your set the way you would if you had
ten times the budget, then everyone else will too.

Sound
Whatever you do, do not cut any corners when recording location
audio. Instead of looking for ways to save money in this area, look for
ways to pay your sound recordist well.
50% of your film is the audio. If you have poor audio, your films
production value will be lowered immensely. In fact, many would
argue that good audio is more important than good visuals to the
average viewer.
You may have a Zoom recorder and a decent shotgun mic, but that
doesnt mean you should try to record audio yourself. Even if youre
skilled at recording sound, youre supposed to be directing the film.
Its not your job to record audio at the same time. If you try to do
this, youre only taking time away from directing the actors and
paying attention to the rest of the production. Do not skimp on
sound!

Final Thoughts
With only so much money to go around on a micro-budget film, you
have to be really careful about where it goes. Think of your budget as
a balancing act between money and quality. Dont assume that you
can simply save money in one department without diminishing the
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SECTION 3

Producing Documentaries With High Production Values

Its more crucial than ever to maintain high production values when producing documentaries. Here are a few ways to go about it.
Until recently, documentaries werent necessarily known for their
production value. Some of the best feature-length documentaries in
years past had loads of technical issues, yet they still succeeded
based on their content alone. Its harder than ever for a
documentary to get seen and sold without a strong aesthetic and
great audio.

same equipment as high-end narrative filmmakers. For instance, its

not uncommon today for a documentary to be shot on a RED
DRAGON or an ARRI AMIRA. Granted, not every documentary is
shooting on RED or ALEXA, but even those shooting on high-quality
DSLRs can certainly still hold up really well on a big screen.
The fact of the matter is that you dont need a high-end cinema
camera to shoot a film with high production value although it
certainly cant hurt. There are countless ways to keep your
production value high, even when working with limited gear. Here

While there are exceptions to this, theres no denying that the

overall quality of the average documentary has increased
dramatically over the last decade. This is likely thanks to the digital
revolution opening up the door for documentarians to shoot on the

85

are five of the most important elements to consider in order to

achieve this.

subject. This will give you two separate audio channels to choose
from in post and will ultimately help keep your audience much
happier with the final product.

Shoot Beautiful Interviews

Great Music Is Key

Depending on the type of documentary youre shooting, one of the

only opportunities you may have to shoot in a controlled
environment will be your interviews. Every documentary is different
of course, but its quite common for the average doc to consist
largely of talking head interviews intercut with some day in the life
footage (or b-roll).

We all know that great documentaries are made in the editing room,
but one point that is often overlooked is the importance of music.
Documentary filmmakers often miss opportunities to include music
cues that can really guide their story and help drive the point home.
Understandably, you may not want to go overboard on the music so
as not to bias your film, but there is a time and a place for music in
almost any doc. You shouldnt be afraid to make use of some strong
musical cues.

Naturally, the day in the life footage will need to be shot in a more
run-and-gun style than your interviews, and no matter how great
you are at shooting its going to have some technical problems.
The good news is that you can easily make up for this (and offset it
visually) by capturing beautifully lit interviews that are easy on the
eyes. Once again, remember that you only have so many
opportunities to control the look of your film when shooting a doc
so take advantage of every one.

And remember, its not just where you use the music, but the quality
of the music itself.

Reenactments Can Work for You

At some point, the idea of shooting reenactments for a documentary
became a faux pas, possibly due to the abundance of low-quality
docudramas that were being produced in the 90s. Thankfully,
dramatic reenactments are being used much more tastefully and
artfully these days... and they can really up your production value.

Prioritize Location Audio

Its perfectly fine if a few of your scenes need to be subtitled as a
result of not picking up proper location audio, but you should be
aiming for the best sound quality possible. You can subtitle a scene
and get away with it, but that doesnt mean you should. The last thing
you want is a 90 minute doc thats subtitled from end to end. Unless
its a foreign language film, the overall production value of your piece
will suffer.

Much like shooting beautiful interviews, reenactments give you

another opportunity to have control over what youre shooting and
add some high production value to your film that simply wouldnt
exist any other way.

Even if you are shooting as a one man band, you should still be able
to capture great audio. All it takes is a little attention to detail.
Whenever possible, use a shotgun mic (either on a pole or mounted
to the camera) in addition to a wireless lav mic thats clipped on your
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Crew Up

There are some cases where you may need to shoot scenes for your
documentary as a one man band. You may need to shoot
inconspicuously with no permit or document a person that doesnt
want a whole crew following them around all day. In all other cases
get a crew!
You dont need a big crew. But if you can have at least a camera op
and location audio on set, youll be in very good shape. Having the
freedom to oversee your production and not get bogged down with
operating a camera can be very creatively freeing. In the end, it will
allow you to capture better footage by being focused on the big
picture.

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SECTION 4

Go Undercover With These Five Guerrilla Filmmaking Tactics

Guerrilla filmmaking can be risky, but sometimes theres no choice. Here are some important planning tips that can help prevent disaster.

When faced with the dilemma to shoot without permits or not

shoot at all a lot of filmmakers will opt to shoot their film
guerrilla style. In other words, theyll choose to go ahead and film
without location permits or permission from property owners in
order to keep more money in the bank. While this may seem like a
fairly easy decision (especially when faced with having to shell out
potentially thousands of dollars for permits), there are some severe
downsides to consider when going down this path.

and having your gear confiscated. Thankfully there are some

workarounds that can help you tackle a guerrilla or low-budget
shoot if you want to do it right. These tips are equally as applicable
to journalists who may be working in restrictive conditions.
Quick Note: When shooting guerrilla style there is always a risk that
you will be shut down or fined. If you choose to go down this path,
you are doing so at your own risk. Always be aware of the potential
consequences. Be sure to check local laws and, most importantly,
always keep your crews safety in mind.

If youre caught at the wrong place at the wrong time, you run the
risk of having your production shut down, receiving additional fines,
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The number one rule when shooting guerrilla should be to keep the
crew (no matter the size) out of sight unless completely necessary.

1. Don't Get Tempted by Cinema Cameras Use a DSLR

As mentioned above, film shoots tend to draw crowds. You need to

be concerned about attracting members of the general public who
can very quickly cause a scene around your guerrilla set.
Its a huge mistake to have more bodies present on a guerrilla shoot
than necessary. Unfortunately, its a mistake that many filmmakers
make. The only person that needs to be present during shooting
(outside of the DP and actors) is the director.
The DSLR revolution may be slowing, but theres still no better
option for shooting guerrilla style than a DSLR.

Always make sure your crew is situated in a low-key area when

youre actually shooting.

The smaller the camera youre using, the less likely it is that youll get
caught, but there are other considerations as well. For instance,
cameras like the Blackmagic Pocket Camera may be smaller than
most DSLRs, but that doesnt necessarily mean that they are going to
be the right choice.

3. When It Comes to Audio, Always Go Wireless

If you have a half-decent location sound recordist on your team, they
will be begging you to use a boom whenever possible. Unfortunately,
boom mics are the biggest giveaway of a guerrilla film shoot, so
youre going to need to learn to work without one.

The Pocket Cam (and other similar cameras) are unique looking and
often draw attention from onlookers. They also often require more
rigging than DSLRs, which ultimately brings up the actual size of the
camera. While working with a small camera is one key to successfully
accomplishing a guerrilla shoot, its not the only consideration.
DSLRs may not be in their heyday right now, but in capable hands
they can produce gorgeous images.

Your sound recordist may not be happy with you for requesting
lavalier microphones only, but you are far more likely to get the shot
you need when you avoid attracting unwanted attention.
Once you have your lavs up and running, the key is to figure out how
to hide the wireless receivers and recorder. Its usually best to have
your sound recordist standing by with the gear in his or her
backpack. Alternatively, the recorder can be kept in a nearby car.
This may seem like a bit of a headache to deal with, especially when
trying to communicate with your sound recordist, but it really is the
only option you have when shooting guerrilla.

2. Keep Your Crew out of Sight

If youre shooting without permits, chances are your budget is
limited and your crew is pretty small to begin with. That said, its still
extremely important that you do not resemble a film crew in any
way. Even with a three or four person crew, you can draw unwanted
attention very quickly.
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If youve prepared accordingly, youll only have three easy steps left
once its time to film: get in, get your shot, and get out.

4. There Should Be No Gear in Plain Sight

Do not betray your intentions by leaving Pelican cases, gear bags,
scripts, and other paraphernalia sitting around. This is the opposite
of discreet.
Since even tripods can give you away, handheld is often your only
option. If more stability is a must for the look of your film, go ahead
and use a monopod, shoot with stabilized lenses, or use a camera like
the Sony a7 II that has built-in stabilization. Whatever you do, just
make sure youre cautious when shooting with anything but a bare
camera body.

5. Plan in Advance and Work as Fast as Possible

The one and only way to properly execute a guerrilla shoot is to strip
your gear and crew down to the bare necessities and plan as
diligently as possible. This means doing your research online, going
location scouting ahead of time (to see which locations will be
easiest to shoot without permits), and preparing your crew as much
as you can.
Planning will make you far more efficient when it comes time to
shoot, which will subsequently allow you to work a lot quicker. Any
and all setups that are required (such as hair/make-up or sound
checks) need to be worked out in a different location close by.
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SECTION 5

Five Things to Consider Before Shooting Slow Motion

Thanks to advances in camera tech, shooting slow motion video is easier than ever before. Still, there are some challenges to consider before starting
your next slow motion project.
For the longest time, independent filmmakers have been frustrated
by the fact that they werent able to capture high-quality slow
motion video. Up until recent years, options were mostly limited to
shooting at 720/60p with a highly compressed codec (such was the
case with the 5D Mark II), unless you were willing to shell out a lot
more money to buy or rent a higher-end cinema camera.

usage), and were finally starting to see a critical mass of cameras

offering that ability.
The GH4 can shoot at up to 96fps, the Canon C100 Mark II does full
1080/60p, and the camera that many of us have right in our pockets
the iPhone 6 can shoot at up to 240fps!
For the most part, this is great news the more tools we have access
to as filmmakers, the better. That said, the fact that many of us have
been deprived of high frame rates for so long is starting to create an
overuse of slow motion content, much like we saw with the

Over time, camera manufacturers started to recognize the fact that

customers were demanding higher frame rates (for slow motion

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overdone shallow depth of field that was occurring when the 5D MK

II first came out.

well in music videos, some commercials, and in small doses in

narrative films.

Now, lets go over five things you should consider before you choose
to shoot slow motion:

Unfortunately, many filmmakers end up using a ton of slow motion in

documentary projects or narrative films. Obviously, theres a time
and a place for slow motion in a doc or fictional film, but more often
than not, it just isnt the right choice. In other words, dont use it just
because you can use it if its the right storytelling device for your
project.

1. You Need More Light

If you havent shot slow motion before, you probably arent
anticipating just how much light you need in order to get a decent
exposure on your image. Shooting overcranked means that your
frame rate increases and your shutter speed does too.

4. The Image Quality Will Be Diminished

No matter what format youre shooting on, youre likely going to
diminish the quality of your image significantly by shooting slow
motion. The reason behind this is simple math.

Following the 180 degree shutter rule, if youre shooting at 96fps,

then your shutter needs to be at around 1/200th of a second. This
will drop your exposure significantly.

Typically, cameras have a set data rate that they record to per
second. When you increase the amount of frames per second, you
are spreading that data very thin by stretching it over many more
frames.

This isnt such a big deal if youre shooting outside in the middle of
the day. But if youre planning on shooting an interior or a night
exterior, youre going to need a lot of light... and you need to know
how to use it.

Even on the RED DRAGON (which of course shoots RAW), capturing

certain frame rates means that the minimum compression ratio
required is increased significantly. This doesnt mean that you cant
capture a beautiful slow motion image, but it does mean that you
need to be especially careful about how you capture your image so
you retain the highest image quality possible.

2. Its Easy to Overdo It

One of the easiest ways to annoy your audience is to overdo slow
motion. Often footage looks great in slow motion, but that doesnt
mean everything needs to be shot that way. If youre not careful, you
can fall into a pretty bad trap. Like most stylistic choices, less is more
when it comes to overcranking. Use it sparingly if you want to be
tasteful.

5. Storage Requirements Can Go Through the Roof

This will vary from camera to camera, but generally higher frame
rates require far more data/storage than standard frame rates.
Certain lower-end cameras are able to keep the data rates about the
same even when shooting overcranked, but most cinema cameras
chew through cards like crazy when shooting at high frame rates.

3. It Might Not Be Right for Your Project

Many shooters go a little bit crazy when they buy their first camera
that has the ability to overcrank. Not only do they overuse the effect,
but they use it on projects that dont call for it. While there may not
be any hard and fast rules on this, slow motion generally works really
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SECTION 6

Everything You Need to Know About CF Cards

Shooting on Compact Flash cards? Lets take a closer look at everything you need to know.

A CF card (CompactFlash) is a small memory card used in many

modern camera systems. CF cards are durable, fast, and portable,
making them a great option for professional photographers and
filmmakers alike.

to 512GB.

How to Read a CF Card

When it comes to CF cards, or any memory card for that matter,
there are two important things to consider: size and speed. On a CF
card, storage size is usually prominently displayed on the front. At
this point in time, CF cards come in a wide variety of sizes, from 4GB

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Most CF cards display the read speed (the speed at which a

computer or device can get information off the card) on their face.
This is important, but for filmmakers or photographers the number
that really matters is the write speed (the speed at which
information can be written onto the card). The write speed is always
slower than the read speed. However, nicer cards typically have a
write speed that is closer to the read speed.

write speeds of up to 155MB/s. However, as 4K and RAW recording

becomes more prevalent, the need for faster CF cards will increase.
Most CF cards also display what UDMA class they are a part of on
the outside of the card. These classes are directly related to card
speed. CF cards are backwards compatible, meaning you can use a
UDMA 7 card on any camera that takes a CF card. However, just
because a camera accepts all CF cards doesnt mean it is optimized
to get the most of that specific CF card. If youre wanting to use a
newer CF card on an older camera, make sure you update the
firmware so you can use the maximum write speed.

CF cards dont always write at the same speeds either. So be sure to

check both the minimum and the maximum read/write speed of
your card. Just because your card can write up to 95mb/s doesnt
mean it can sustain that write speed for an extended amount of time.

How CF Cards Work

Card read speed is usually displayed in either MB/s or x. It is more

helpful to get the CF read speed written out in MB/s, but you can
easily convert speeds shown to MB/s by dividing the x number by
6.6666. For example, if a CF card has a speed of x1000 on the
outside, it will have a read speed of around 150MB/s.

Practically, CF cards work via 50 pin holes that connect inside a

camera or CF card reader. These pins are definitely the biggest
downside to using CF cards over portable storage cards, because all
50 pins must line up perfectly... and sometimes they bend, requiring
maintenance to your camera or card reader. If this does happen to
you, its not the end of the world. A small screw driver should be
enough to bend the pin back into place but obviously, use caution.
Once connected, a CF card is completely straightforward. Just
format the card and record. CF cards use either FAT32 or exFAT
formatting, making them cross-compatible between Windows and
Apple products.

On most modern CF cards youll see a small clapboard with a

number. This refers to the minimum/guaranteed write speed we
talked about earlier. If youre a filmmaker, this number is incredibly
important because it is the speed at which a camera can write to the
card indefinitely. Your needed card speed will all depend on the
resolution, codec, and the camera youre using.
For most non-RAW HD circumstances, a minimum read speed of
20MB/s should do the job. As of right now, some CF cards can reach

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Compact Flash vs. SD Cards

Which Brand is Best?

There is a lot of debate over which memory card format is better: SD

or CF. Both SD and CF cards have their advantages and
disadvantages. SD cards tend to be much cheaper than CF cards, but
CF cards tend to be faster and more durable than smaller, fragile SD
cards. SD cards are easier to misplace or damage, but if you keep
your memory cards in a memory card wallet (as you should), it
shouldnt be an issue.

Theres definitely a lot of debate as to which CF brand is better.

Lexar and SanDisk are the largest brands, and more people tend to
use them. But other brands like Kingston, Transcend, and Komputer
Bay are all very legitimate alternatives.

As of right now, there arent many significant technical differences

between SD and CF cards, so it really comes down to preference.
If youre going to be shooting in rough conditions, CF cards might be
the way to go. If you shoot more casually, SD cards might be better.

CFast Cards
CF (CompactFlash) cards should not be confused with CFast cards,
which were created to be the next step in CF card evolution. As of
right now, CFast cards are, as the name implies, faster than regular
CF cards. However, they are much more expensive than their CF
counterparts. For instance, A typical 60GB CFast card costs about
$400. For that price you can get a 256GB CF card.
Currently, its impossible to say whether or not CF cards will be
replaced by CFast cards. However, some newer cameras like the
Blackmagic URSA are already accepting CFast cards instead of CF.
The Future of Compact Flash Cards

It seems like CF cards are here to stay for at least a few more years.
The CF Association are theorizing that cards could reach a storage
size of 144 petabytes, or 144,000 Terabytes. Only time will tell... but
for right now, CF cards are a safe bet for photographers and
filmmakers alike.
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SECTION 7

Why You Shouldnt Always Be Shooting RAW

With RAW shooting cameras so readily available, many filmmakers are opting to shoot RAW as much as possible. Although there are some huge benefits
to RAW image capture, there are also some major downsides. RAW isnt always the best choice.
There is no denying that a RAW image will almost always look
better than the same image captured with a compressed format.
Just like shooting RAW still photos (as opposed to JPEG), RAW
video delivers a final image that has maximized dynamic range,
detail, and overall image quality. If youre reading this book, chances
are you know very well just how beneficial the RAW format can be.

want to touch on some of the reasons why you might NOT want to
shoot on raw, since most of us already understand the many
benefits of capturing a raw image.

Limited Camera Choice

Many shooters make the mistake of believing that they need to
shoot raw in order to achieve the results they are looking for
specifically when it comes to narrative. This unfortunately leads
them to limit their camera choice severely by eliminating many

However, no matter how great RAW is, there are many instances
where it isnt the right choice and I decide to shoot straight to
ProRes, or to another compressed codec. Throughout this post, I
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other great camera options than may not shoot raw. This can be
particularly problematic in a number of scenarios, one of which
being low-light shooting situations. For example, you might want to
shoot a scene for your film at night using available street light, which
in itself is a difficult task.

When you consider the amount of storage that you need not only to
store your dailies, but also to make backups of everything youre
looking at a pretty big expense and a much more involved post
process. You might feel like these particular issues arent a big deal
for you, and maybe they arentbut its worth pointing out that a
huge amount of television series and feature films that shoot on the
Arri Alexa (which can shoot raw or ProRes), opt to shoot ProRes in
order to streamline their workflow. Most professional DPs have no
problem shooting to ProRes, even though its a compressed format
since they know how great that image can look and they are
confident enough in their skill set to not have to rely on raw to save
them in post.

If you dont have a lot of experience with many RAW shooting

cameras (lets use the RED Epic as an example in this case), you might
not realize that most of the current raw cameras that are on the
market dont perform well in low light. So if you were to go out and
rent an Epic to go and shoot your night scene, you might end up with
some really grainy and unusable footage. Yes, it will be raw, but it will
likely look terrible. Conversely if you were to shoot on a camera like
the Canon C300, you would likely be able to get much better results
even though the camera itself isnt nearly as powerful, and is
recording to a heavily compressed format.

Color Grading Is A Must

If you plan to shoot RAW, you need to plan for a pretty involved color
grading session. Chances are, even if you are shooting to ProRes or
any other compressed format you are going to be color grading to
some degree, but when shooting raw the overall workflow becomes
more dense.

The key takeaway when it comes to camera choice. The ability to

shoot raw should never be your number one concern unless you are
shooting something very specific that absolutely needs the
additional flexibility of raw. Having the ability to shoot raw when you
need it is great, but if it is going to mean that you are choosing a
camera that limits your shooting options in other ways its never
going to be the best choice.

Raw can be immensely helpful when dealing with a blown out

window, or any number of other situations that were difficult to
shoot on the day of. But in many cases you simply dont need the
power that raw offers. When an experienced DP hands off a ProRes
project youll likely be able to color grade it a lot more easily than
when an inexperienced DP hands off a project. The reason of course
being that the experienced DP has lit and exposed their image in a
way that calls for a less intensive color grading session, and
therefore needs to rely less on the raw image format.

Massive Data Requirements

Any raw camera is going to require a lot of storage, which can
become very costly and cumbersome to deal with. While some
cameras (such as REDs) will shoot to a compressed raw format, many
others (like the BMCC) shoot uncompressed raw, and either way the
file sizes for any given raw clip are going to be very large.

Conclusion
RAW is a great format. However, there are some major
considerations when it comes to shooting raw including the limited
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camera options you have, the big data requirements, and the need
for a more involved color grading process. There is something to be
said about shooting with a camera that is simple to use (especially on
a small scale shoot) and will allow you to stay light on your feet and
not miss critical shots as a result of becoming bogged down with the
raw format. You need to approach your choice carefully.

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SECTION 8

Three Tips for Dealing With Rolling Shutter

DSLR video has improved dramatically over the last few years, but rolling shutter is still an issue. Deal with it using these three tips.
No one likes the look of rolling shutter artifacts. Theyre a pesky
side effect of shooting on DSLRs (or other cameras using CMOS
sensors) and have the potential to ruin otherwise fantastic footage.
Rolling shutter issues can plague footage in any number of ways, but
most often by causing a horizontal skew when whip panning, or the
jello effect when shooting on long lenses (or handheld).

the frame from top to bottom, leaving room for visual artifacting in
the frame.
In other words, the top and bottom points of any given frame are
not captured at the exact same moment, which is why images can
appear skewed under certain circumstances.
You might wonder why more manufacturers dont use global shutter
sensors on their cameras. There are a number of reasons for this. In
a nutshell, theres usually a tradeoff in terms of performance
between rolling and global shutters. A rolling shutter has issues with

Rolling shutter skew is simply a result of the speed at which a frame

is scanned and captured on a CMOS sensor. Unlike global shutters,
which capture an entire frame all at once, a rolling shutter will scan

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skew and distortion, but can have better low-light performance and
dynamic range.

handheld work. As you might imagine, using a shoulder rig is one of

the best ways to eliminate rolling shutter (or at least reduce it
significantly), but it needs to be set up just right. Rigs that are heavier
but still well balanced are an absolute must for even the most basic
handheld work.

On the other hand, the global shutter may never be able to achieve
the same DR as its rolling shutter counterpart, but it would perform
much better for handheld work, action scenes, and visual effects
work.

Alternatively, you might want to consider a small gimbal-based

stabilizer like the Movi M5 or a device like the Nebula 4000. Or, if
you are unable to use a rig for any reason, the next best thing would
be to use a stabilized lens. Any lens with built-in image stabilization
will decrease rolling shutter artifacts substantially, but a wellbalanced rig is always going to give better results.

VFX shots in particular can be very challenging to deal with when

working with footage suffering from rolling shutter artifacts. For a
VFX artist to do their work best, they need to be able to accurately
track footage and match 2D/3D elements to the source footage
which can be a huge challenge when the source material isnt stable
enough.

2. Know Your Angles

Sometimes knowing how not to use a tool is just as valuable as
knowing how to use it. Every camera has its limitations, whether in
the areas of dynamic range, sharpness, detail, color accuracy, or
otherwise. If your particular camera struggles with rolling shutter,
then sometimes the best option is to work around its limitations and
avoid shooting in situations where the camera is going to have
issues.

But even if you arent doing VFX work or shooting action sequences,
you still need to be careful when shooting on a camera that is prone
to rolling shutter problems. A handheld shot using a long lens can
turn into complete jello under the wrong conditions, and the skew
associated with any number of shooting situations can be a huge
distraction in the editing room.
The good news is that there are ways to offset the rolling shutter
issues associated with many CMOS sensors. Here are three of the
simplest ways to work around it:

One example of this might involve shooting a moving train. If you

were to point your camera at a train that is moving horizontally from
screen left to screen right, the image would be very skewed, even if
you werent moving the camera at all. Just like a whip pan, the sensor
would be unable to read the entire image at once and would
therefore cause a horizontal skew in the image.

1. Use a Rig
This first point applies most specifically to micro-jitters, which can be
an issue with nearly any camera, but can be exaggerated by rolling
shutter.

While youre on set, the only option you have (other than shooting
on a different camera) is to change your angle. Instead of shooting
head on, you could opt to shoot from a 3/4 angle or any number of
other positions that would help you avoid the skew entirely. It may

Using any sort of stabilizer or rig will always be your best bet when it
comes to minimizing micro-jitters. Obviously a tripod or monopod
can work perfectly in most instances, but things get a bit trickier for

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feel frustrating that your creative choices are limited, but knowing
your limitations will always help you get the best results and avoid
issues down the road.

3. Fix It in Post

The phrase fix it in post has become a cliche at this point, but when
it comes to rolling shutter, sometimes it actually is the best option.
Depending on the severity of the rolling shutter artifacts, you may
be able to fix the image during post-production by using any number
of different plugins for various NLE systems or compositing
software. There are dozens of options out there, so I would
recommend doing a quick google search to see which tools work
best for your camera and software combination.
With all of that said, I would never rely on fixing your rolling shutter
in post. The best results will always be achieved by avoiding rolling
shutter artifacts in the first place. But if you are in a sticky situation,
its great to know that there are some editing tools that can help you
deal with these problem shots.

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SECTION 9

Cinematography Tips For Horror Filmmakers

Horror is a very specific genre that calls for some unique lighting techniques. These five cinematography tips will make just about any horror film more
stylized and effective.
Horror films are all about tone, texture, and mood. Unlike many
other genres that rely more heavily on other elements (dialogue,
plot points, etc.), great horror films are all about style. Thats not to
imply that a great horror film shouldnt also have excellent dialogue
and a great plot, but rather that those elements often take a back
seat to the immersive mood and experience that a great horror film
delivers.

focus on here. Unlike lighting a comedy or drama, more rules can

often be broken when shooting a horror film, and in many cases that
translates to a more effective final product.
If you plan on shooting some horror material in the future, then this
chapter is for you. The five cinematography tips listed below will
serve as some fundamental guidelines that you can follow
throughout your time on set.

The two most important elements in creating that mood are sound
design and cinematography, the latter being what were going to

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1. Shoot Through Things

3. Use Haze

Some horror filmmakers are drawn to extreme closeups, but doing

the exact opposite can be far more effective. Rather than always
filling up your frame with your actors faces (just because it looks
intense), challenge yourself to go wider.

Using a tasteful amount of haze (or fog) can add a lot of texture to
your scene. This is one of the oldest tricks in the book, but its still
used on nearly every set (and for good reason). Theres absolutely no
substitute for the look and feel that haze can bring to your scene,
and its especially effective when it comes to the horror genre.

Imagine a scene where an actor is sitting alone in their kitchen. An

extreme closeup on their face may show us some added emotion, but
a wide shot taken from outside the house (looking in) could be far
more powerful.

Use a hazer or fog machine to add just a touch of haze to your scene,
and be sure not to go overboard. A little bit of haze will go a long way,
and much like underexposing, it can really help to set a unique and
mysterious mood to your scenes.

Not only are you showing the isolation of the character, but youre
also creating a voyeuristic and unsettling feeling by shooting
through a pane of glass, which is a technique that can be very
effective under the right conditions.

4. Dont Be Afraid of Colored Gels

I almost always avoid using colored gels when shooting, unless Im
using them to correct the color temperature of a light (for example,
balancing tungsten to daylight). That said, if Im ever going to use
them, its on a horror film. Thats one of the only genres where I feel
they can work exceptionally well.

2. Underexpose
As DPs, we have it drilled in our heads to always expose perfectly.
We have more tools than ever (both in camera and otherwise) that
enable us to nail our exposure. Though, in some cases, that isnt
whats going to serve the story most effectively.

Red gels in particular can be really effective for horror, as the color
red can inherently make your viewers feel unnerved. Avoid using
colored gels in the way that a photographer might (such as on the
rim light) and instead use them on your key.

On a horror film, underexposing can be extremely effective as itll

leave more areas of the frame in the shadows and create a more
mysterious feeling.

Lets say youve got a scene that takes place in a dark hallway of a
club. If your key light has a red gel on it, it will bleed over the faces of
your actors and create a really stylized look. Again, know when to
use this and when not to. If you mix colored gels with regular lighting
(or natural light) you may just wind up with a strange looking image.

Although you could technically expose normally and just color grade
your footage to darken it in post, the end result wont be quite the
same. You want to actually light your scene in a way that feels
organically underexposed, and bring that out even more in the grade.
Dont push things too far though, or you wont be able to bump it
back up in post if needed. About a stop of underexposure is all you
need to set the tone.

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5. Find Unique Angles

The most obvious example of a unique angle that works well for
horror is the dutch tilt, though just about any unconventional angle
can help play into the vibe of your film.
Much like the other tips on this list, you want to use your camera
angles to create an unsettling feeling within the viewer. The best
way to do that is to create an image that looks off balance. Thats
why the dutch tilt works so well.
Other examples would be a birds eye view or a very low angle shot
looking up. Both of these are unique perspectives that we rarely see
on film, and can really help to jolt the audience into the headspace of
the characters.
Always be sure that whatever extreme camera angle youre going for
still suits your scene. The last thing you want is to stylize a scene or
moment in a way that isnt true to the story.

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SECTION 10

Cinematography Tip: Use Fog To Add Depth to Your Shot

A little haze goes a long way. Fire up the fog machine to add dimension and depth to your shots!
Theres a good reason why we tend to love images with lots of
depth, and it has a lot to do with the way we see the world. We see
and experience the world in 3D space, and when we watch films and
enjoy great cinematography, we want the aesthetic of the 2D
medium to feel as three dimensional as humanly possible. This is
also why great cinematographers often talk about how their
favorite lenses have a 3D feel to them. Theyre not referring to
literal 3D filmmaking, but rather the optics of the lens.

However, DOF is definitely not the only way to create depth in your
image and it certainly isnt an option you can always rely on. For
example, if youre working in a cramped space and arent able to
shoot on a long lens, it simply may not be possible to achieve the
depth you need based on your optics alone.
Arguably one of the best ways you can achieve depth (outside of
your camera/lens choice) is to use a hazer or fog machine. The
slightest bit of haze in a room can add a tremendous amount of
depth to your scene, as it will create a large variance in the aesthetic
between the foreground and background.

The DSLR revolution has allowed filmmakers of all kinds to use

depth of field to easily create depth in almost any shot quite easily.

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On the same note, you definitely dont want to go overboard with

the fog because it can become cheesy very quickly. In fact for this
technique to work well, you shouldnt really see it at all you just
want to feel it in the image. So the next time youre stuck using a
small sensor camera, or youre shooting in a tight space and just cant
get the depth you need, try adding a bit of haze. Youll be surprised to
see just how effective it can be.

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SECTION 11

How to Shoot Gorgeous Documentary Interviews

Beautifully shot documentary interviews are vital to your films success. Get the best footage possible with these tips.
Years ago, most documentaries were synonymous with lower
production quality. They were typically shot on lower-end video
cameras and with less involved setups. There were, of course, those
documentaries that went against the grain and strived for higher
production value, but they were few and far between.

filmmakers, but also because the documentary genre in general has

been morphing.
The point is if you are setting out to shoot a documentary today,
the bar has been raised. To secure distribution, you are going to
want to deliver the best creative product across the board... and
your approach to documentary interviews is one of the most
important components to consider.

Over the last 5 to 10 years though, that has changed. The average
documentary now looks just as good as many narrative films. This is
largely thanks to the fact that documentary shooters are able to
have access to some of the same cinematic tools as narrative

There are many ways you can increase production value on a doc,
but for the purposes of this article, lets focus on interview footage.

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In many documentaries, interviews account for 50% of the overall

screen time and they are also one of the few environments on any
doc shoot where you have a lot of creative control. For those reasons
and more, you want to maximize the quality and substance of your
interviews. Below are three simple ways that you can increase the
quality of your interviews.

several motorized and automated sliders from companies like

Redrock Micro that allow you to automate the process.

2. Shoot in 4K
Shooting in 4K means you can reframe your shots in post, but a lot of
people are purists. They approach digital cinematography in the
same way that they approach film. That means that every shot is
composed in camera the way it is intended to look in the final
product, as opposed to simply shooting with the intention that
everything will change in the editing room.

1. Use a Slider
Sliders are your best friend when it comes to documentary
interviews. Weve all watched documentaries where the interview
footage was just dull. More often than not, the root problem of those
interviews comes down to camera movement. Even a well-composed
and well-lit shot will only sustain the average viewers attention for
so long, which is why most interviews are covered up heavily with broll.

With all that said, interviews can be treated differently since the
editorial process calls for a different approach. While editing a
documentary interview, there will be times when you desperately
need a cutting point but simply dont have one. If you shot your
footage in 4K, then you have solved that problem by being able to
push in on your 4K shot after the cut point, making it feel like youre
cutting to a tighter angle.

That said, there are times when you want to linger on an interview
and really see the person as they are speaking especially in more
emotional moments. This can make things tricky in the editing room.
You end up having to decide between cutting away to b-roll to make
things more visually interesting or staying on the interview shot, but
losing momentum in the pacing. This is where sliders come in.

So even though 4K may still be overkill for many productions, you

might still want to shoot your interviews this way to keep your
options open in post.

The most subtle slider move during an interview can make a world of
difference. You dont need to have a massive dolly or a really obvious
move for this technique to work. In fact, its better if you dont.
Ideally, you want to have a very slow slider move thats just barely
noticeable so that viewers are continually drawn in to the footage,
but arent distracted by the camera move.

3. Use a B-camera

In order to execute this technique well, you will likely want an

assistant there to operate the slider for you so that you can still
conduct your interview effectively. Alternatively, there are now

For instance, if the interviewee says a lot of ums, youre going to

want to have the ability to cut away whenever possible so that it
doesnt distract the viewer. You could use the 4K punch in method

Building off of the previous point, another really great method for
keeping your options open in the editing room involves shooting
with two cameras. Depending on who youre interviewing and how
comfortable they may be on camera, you may need to do a lot of
editing to make their interview feel for cohesive and fluid.

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described above, but an even better alternative is having a second

camera angle to cut to.
Most often, a second camera during an interview setup will be
placed at a 45 degree angle to the talent to capture an entirely
different look. Profile shots can also work really well too, depending
on the aesthetic you are going for, as can a tighter framed shot But
all that really matters is that your shot is different enough from your
A-camera that the cuts arent distracting.
Keep in mind that you may also need another camera operator,
depending on how youre going to set up your shots and whether or
not a slider is involved,

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SECTION 12

Lighting Tips to Consider Before Shooting Your Next Film

Lighting is the number one factor to take into account when crafting a cinematic image. Follow these lighting tips to get the most out of your shot.
Lighting is one the most most critical components of cinematic
design. Proper manipulation of light is vital to delivering the
intended sentiment of a scene, and therefore can have a great
emotional impact on how your stories are received by an audience.

Its common for filmmakers today to feel that lights are no longer as
crucial to the filmmaking process as they once were, seeing as highsensitivity cameras are able to expose the image properly without
the use of a proper light setup, even with nighttime exteriors,

Everyone knows this, yet so many make really poor decisions when
it comes to lighting. One of the biggest issues that seems to plague
indie films today is a general lack of lighting, usually as a result of
attempting to shoot with high-sensitivity cameras like the Sony a7S
or Canon C300.

Unfortunately though, this type of corner-cutting never yields good

results. Just because an image is technically exposed properly
doesnt mean it looks good or that its the right look for the story. So
here are a few key lighting tips to take into account before lighting
your next film.

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In some cases, projects can benefit by going with a hard lighting

aesthetic (think Breaking Bad) and will intentionally work with direct
sunlight and other bright sources to create dramatic shadows. In
other cases, diffusion is used to create more forgiving (softer) light
sources.

Choose Between Soft and Hard Light

One of the best things that you can do when approaching the
lighting setup for any film is deciding whether you want to go for a
soft or hard aesthetic. Obviously you can change the lighting setup
from scene to scene, but if you want your film to have any sort of
consistency, the lighting will largely fall into one or these two
categories.

Theres no right or wrong way to approach soft vs. hard light, but the
big takeaway here should be that you need to define your look early
on. Only then will you be able to take the necessary steps needed to
execute your look.

Its pretty easy to make lighting decisions that will help you achieve
the look that you have in mind. But the important first step is often
overlooked. A lot of indie films end up having no choice but to use
hard lighting on their film, as they havent thought things through
enough and didnt budget for powerful HMI lights. Or maybe they
didnt spend enough time in pre-production to come up with
solutions to combat the harsh sunlight.

Use Practical Lights for Interiors

Just because you dont have a big lighting budget doesnt mean that
you cant light your film. The benefit of high sensitivity cameras (like
the Canon C300 or Sony a7S) isnt so much that they can shoot in no
light, but rather that they excel in low-light situations. Those two
scenarios are very different. What that means is that if you need to
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shoot your film without a proper film lighting kit, you can certainly
get away with that but in order to maintain a visually pleasing look
to the film, youre going to at least need to know how to use practical
lights to craft the image.
If you dont already know, practicals are any lights that actually
appear in the shot or on the set. These could be overhead lights, desk
lamps, floor lights, or any other typical light that you might find in
your average interior location.
A whole lot can be done with practical lights to shape the mood of
your scene. In many cases, they are preferable to film lights, as you
can set things up in a way that gives your actors more flexibility on
set, allowing them to have more freedom to improvise and be less
specific with their marks.
In order to really nail practical lighting though, you cant just simply
show up and expect the lighting to work for your needs it still takes
a lot of effort. Youll want to get various types of household bulbs in
varying strengths to use in your fixtures. And just like you would
with film lights, youll need gels, black wrap, and other tools to help
you control the output, color temperature, and spill of the practicals.

camera may be in low light, there is no substitution for actually

lighting your scene properly.
The good news is that if you are shooting with a camera like the a7S
or C300, you can easily get away with using a minimal lighting setup
(such as battery powered LEDs) and still get great results. If your
camera can expose a clean image in a very low-light situation, then
that will get you most of the way there. Just be sure to use additional
lights such as LED panels to kick in a key light or a rim light on your
talent. These panels are relatively affordable and will go a very long
way in helping you shape your image.

LED Panels for Night Exteriors

Night time exteriors are probably the most poorly executed type of
setup on most low budget indie films. This is especially true of films
that attempt to shoot on ultra-high-sensitivity cameras without the
use of light. As touched on earlier in this section, just because you
dont need lights to properly expose your image doesnt mean that
youre going to wind up with a final product that looks good.
You still need at least some light to create the right highlights,
shadows, and overall mood in your shot. No matter how clean your

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SECTION 13

Five Easy Tips For Nailing Your Exposure On Every Shot

No matter what camera youre shooting with, perfect exposure is the biggest key to achieving a beautiful image. Here are five easy tips that will help you
get it right every time.
Whether youre shooting to a compressed format or to RAW, nailing
your exposure in camera will improve the look of your image and
save you hours (or days!) in post-production. The tips below are
especially relevant when shooting with cameras that suffer from
low-bitrate recording.

monitors are unable to compete with bright light sources, such as

sunlight, which can make monitoring a huge challenge during day
exteriors. Although it may seem like youre getting an accurate
visual read on your image, youre probably judging your overall
exposure incorrectly. The only way to combat this is by using an
EVF.

Use an EVF During the Day

If you have a camera that has a strong EVF built right in (like the
C300), then things are quite simple for you. Just make sure to use it

Outside of using critical exposure tools (which well get to soon),

one of the most important factors when it comes to exposure is
being able to trust your eye. Unfortunately, most cameras and
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over the LCD screen. However, if you have a camera with a poor EVF
(or none at all), its highly recommend that you invest in one.

Understand Your Zebras

Unless youre extremely new to shooting, youve probably already
been using zebra stripes to some extent. For those that dont know,
zebras can be set to effectively highlight a portion of your image that
is overexposed, so that you know when your shot is clipping to white.
It sounds easy, and in many cases it is. However, there are some
snags that you need to know about when working with zebras. For
example, many shooters expose for the zebras (so as not to
overexpose their shot), but then they end up underexposing their
talent.

The Histogram Is Your Friend

In other words, if there was a lamp in the back of the shot that was
blowing out, a lot of amateur DPs would be tempted to expose the
image so the lamp doesnt clip... but then the rest of their image ends
up being severely underexposed. Always remember that its okay for
parts of your image to clip at least within reason. Just never
sacrifice the skin tones or your talent in general.

Im often surprised that so few up-and-coming cinematographers

really know how to use a histogram, considering that its one of the
most critical on-camera tools that can be used to dial in exposure.
While not all cameras have a built in histogram, many do and I
would strongly suggest that you start using yours properly.
The histogram may look confusing at first, but really its very simple.
The histogram simply displays the luminance (dark vs. light) values
from left to right, so that you can see where your image falls. If the
histogram is all crunched over to the left side, it means the image is
underexposed. If it mainly falls on the right side, it likely means the
image is overexposed. For most situations you will want it
somewhere right in the middle, but there are definitely exceptions to
that rule.

Dont Be Afraid of Light Meters

Many DPs still swear by light meters, even if they arent always
mandatory. If youre shooting on a camera that has very limited
dynamic range, it would be advantageous for you to use a light meter
so that you can properly set your lighting ratios.
We all want cameras with high dynamic range so that our lives can
be made easier on set. But the truth is, a camera with 7 stops of DR
can look better than one with 14 stops if its lit properly. It just comes
down to making sure that the lighting setup keeps the exposure
within those 7 stops. In order to do that well, a light meter is
essential.

Know Your Cameras Quirks

A big part of nailing your exposure is understanding the quirks and
differences of your current camera. For example, in the previous
point we mentioned that you usually want to have your exposure fall
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somewhere in the middle when using your histogram, but that isnt
always the case. For example, certain cameras hold detail far better
in the highlights, which would mean you might want to expose to the
right, or slightly overexpose intentionally so that you are left with
the best possible image in post. This is just one of many dozens of
examples of camera quirks, but the key takeaway here is that you
absolutely need to know your camera and understand how it needs
to be treated to achieve the best results when exposing your image.

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SECTION 14

Four Cheap Practical Lights That Can Work Wonders On Set

Placing an emphasis on lighting is one of the most effective ways to keep your production value high. The four lights on this list will allow you to not only
light your film beautifully, but do it on a minuscule budget.
Nearly every indie filmmaker will rent or buy a standard lighting kit
for their productions (such as an Arri or Lowell kit). While these
types of lighting kits are reliable and versatile, inexpensive
consumer lights may also have a place in your production. Unlike
traditional lighting kits, practical lights (that can be bought at places
like Home Depot or Ikea) are often sold at a fraction of the cost of
film lights, since they dont have the same functionality built in.
While the lack of functionality can seem like a big downside, you can

often use the quirkiness of these lights to your advantageand

ultimately give your film a distinct look.
Its not just filmmakers on a budget that are known to make use of
practical lights either. Many well-established filmmakers (like David
Fincher for example) are known for utilizing household lights or
work lamps in order to achieve a desired effect. So if youre looking
to save a few bucks on your next production, or just want to try
something new and different these lights are for you:

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to give a similar aesthetic to shooting with regular LED panels or at

times even flourescent Kinos. Use these as a soft key or a fill light, as
they do a great job of illuminating skin tones in a natural way.

1. China Balls
Nearly every lighting store or home furnishing store (such as Ikea)
will sell these china balls, and generally they go for under $20. They
emit a beautiful soft light that can be used as a key, fill, or even a
background light and are extremely adaptable. For daytime use, you
can switch to daylight balanced bulbs easily, which makes them such
versatile and valuable tools much like the work lights above.

4. Clamp Flood Lights

These good old fashioned flood lights have been used for decades by
filmmakers and photographers on a budget. They can be bought for
as little as $9 (without the bulb) at your local hardware store, and
much like the construction lights on this list, they offer a great
solution for inexpensive high power output. You can use a single
lamp as a high key (or add diffusion to it if you prefer) or combine
multiple lamps to illuminate an entire room. There is a reason why
these have been used for so many years, and its not just because
theyre cheap!

They can be mounted on a light stand, used on a boom pole (for run
and gun/walking scenes), or rigged up just about anywhere you can
imagine. Many film lighting manufacturers now make more
expensive pro versions of these lights that have a stronger ball (the
cheap ones are made of paper), so if you want to use a light like this
on multiple shoots, you might want to consider a more heavy duty
version.

Final Thoughts: Use What You Need

2. Work Lights

When approaching the lighting setup for any given project, you
never want to take a one-size-fits-all approach. Always carefully
consider what the stylistic and creative needs are of your project,
and what your vision is for the overall aesthetic. From there, you can
start to build your kit in a way that is unique and specific to your
project.

These common construction lights can be bought at just about any

hardware store for about $30, and considering the amount of power
that they can generate, they offer some of the best bang for the buck
out there. You can buy these lights with tungsten or daylight
balanced bulbs which makes them extremely versatile, and their
strong output makes them fantastic options for demanding lighting
situations such as night exteriors. These lights have been used in
countless feature films (even large-scale productions such as Fight
Club), and are a must have for DPs on a budget.

3. Energizer LED Folding Area Lantern

These little light panels are a relatively new product and available at
nearly any Target, Walmart, or supply store. They are often used for
camping, as a means to light up a completely dark area at night. As
such, they well-suited for use on a film set. The light quality and fall
off from these little panels can be brilliant, and I generally find them
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SECTION 15

Tips for Getting Good Shots in a Bad Location

Stuck with a bad location? Here are a few tips for getting better shots when your location is less than ideal.

In a perfect world we would all be able to shoot in whatever location

we want and control every aspect of the filmmaking process.
Unfortunately, we dont live in a perfect world.

1. Show up Early and Make a Plan

While you should always make it a point to show up early for your
productions, its especially important if youre shooting in a lessthan-ideal location. An early arrival allows you to create a plan of
attack for how youre going to deal with the various obstacles
keeping you from getting great video. This is an easy one.

Unless youre working on a big-budget shoot you are likely going to

have to shoot in some less-than-ideal circumstances. Thankfully
there are a few things you can do to help make a bad location better.
Follow these ten tips for getting the most out of every location.

2. Set Expectations With Clients

Clients are often clueless when it comes to selecting a good location
for shooting video. Dont assume that they know what makes a
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location good or bad. If your client is insisting on shooting in a

specific location, let them know possible pain points that may be
associated with that locale. Setting these expectations will help
minimize surprises once youre in the editing bay.

5. White Balance for Blue/Orange and Green/Magenta

Most bad locations share a common flaw fluorescent lighting.
Fluorescent lights are bad for multiple reasons: buzzing, flickering,
and strangely tinted light. If you simply must shoot with florescent
lights, youll likely find your footage more green than normal. On
most cameras you can adjust your white balance from blue to
orange, but this will not effect the green tint found with
fluorescents. On most high-end cameras you can white balance to
adjust for blue, orange, green, and magenta deep in the menu. Make
sure to adjust both settings if you want an ideal white balance in
fluorescent lighting.

3. Moving Blankets

6. Filters
In day-to-day life, mixed lighting isnt that big of a deal, but when it
comes to shooting video it can be a nightmare. Instead of trying to
work with different color temperatures, use colored filters. You can
make your video easier to color correct in post by filtering your
lights. Get a large roll of orange, blue, magenta, and ND filters and
cut them to certain sizes as needed.

Sound is normally the biggest obstacle to overcome in a challenging

location. Its always best to seek out locations away from roads,
crowds, and airports. However, if you simply must shoot in a specific
location, one tool you can use to dampen echo and outside noise is a
moving blanket. The coarse, thick material is perfect for mounting on
walls, covering windows, or simply laying on a concrete floor. Unlike
acoustic foam, moving blankets tend to be very affordable and
versatile.

7. Bring More Lenses

4. Know the Schedule/Move the Shooting Time

Youve been here before
You begin shooting an interview only to be interrupted by people
making noise and constantly walking onto your set. This all-toocommon problem can be incredibly annoying.Let your clients know
that youll need time and space away from people. Typically this
means shooting in the evening.

One of the best ways to stay flexible on set is to have an arsenal of

lenses at a variety of focal lengths. Narrative films are typically shot
on prime lenses, but if youre shooting a corporate video you can

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normally get away with shooting on a good zoom lens. The goal is to
stay versatile in less-than-ideal circumstances.

8. Know Whats Important

A video shoot is full of choices and compromises. Its important for
you to know the difference between whats important and whats
not and to discern each in the moment. Theres nothing wrong with
wanting to make your finished product as nice as possible, but
knowing when to draw the line is important for you as a director/
producer.
When youre in a time crunch, spend the time fixing things on set
that you simply cant correct in post.

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SECTION 16

What to Know About Shooting With Vintage Lenses

Follow tips when outfitting your digital camera with vintage glass.
Perhaps its the hip look or the affordable pricing, but theres
recently been a vintage lens revival in the photo and filmmaking
community. For now, you can still get many lenses for a bargain
but with the recent uptick in popularity, the price of used lenses may
increase as well.

Sony E. These adapters come in a variety of prices, some for under

$10.

2. Vintage Glass Is Cheaper Than Modern Glass

Whether you are new to vintage lenses, or just interested in

learning more about them, here are ten things you should know.

If you compare a vintage lens to a modern lens, youll find that most
vintage lenses are much cheaper. For example... an Olympus OM
50mm f/1.4 can be picked up for around $90 on eBay, compared to a
comparable new Canon lens which goes for $400.

1. You Can Use Vintage Glass on Your Camera

3. Most Vintage Lenses Have External Aperture Control

Using simple adapters, you can adapt vintage lenses to a variety of

modern lens mounts including Micro 4/3, Canon EF, Nikon F, and

If these vintage lenses didnt have external aperture control, it

would be very difficult to use them in modern productions. This is

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due to the cameras inability to communicate with the lens. However,

when you have external aperture control, you can change the f-stop
with a simple wheel turn.

it around your vintage lens. The whole process should take about an
hour, but the investment is definitely worth it.

4. Most Vintage Lenses Can Be Easily De-Clicked

8. Most Vintage Lenses Have Some Vignetting... But in a

Good Way

De-clicking a lens can be an extremely scary process, especially if

youre trying to de-click a modern lens. Thankfully, vintage lenses
dont have the same build as modern lenses. Vintage lenses are
usually held together by easy-to-access screws, making them simple
to take apart and de-click. You also dont have to worry about
damaging computer components inside vintage lenses.

Distance and size arent always perfect with vintage glass, so you can
expect to see vignetting with most older lenses. While some would
argue that vignetting is a bad thing, it can sometimes create an
interesting effect. This is particularly helpful if you are trying to get a
vintage look with your lens, but it all depends on your personal
preference.

5. Some Vintage Lenses Have Awesome Distortions.

9. Buying Good Adapters Is Crucial When Using Vintage

Lenses

While it may not be ideal for shooting modern projects or weddings,

the distortions created by shooting on vintage glass can be
incredibly stylish and unique. Vintage glass usually has more
chromatic aberrations and the focus can be a little soft... but if youre
wanting to get the popular Instagram/hipster look, vintage glass is
perfect.

While you may be able to pick up a cheap adapter for $10 on

Amazon, that doesnt mean its a good adapter. Every millimeter
matters when adapting for vintage lenses. So, if an adapter was
cheaply made, it could potentially have focusing issues or mess up
your camera. Be sure to do your research and go for quality when
youre picking a lens adapter.

6. Vintage Lenses Can't Autofocus on Your Camera

10. Some Vintage Lenses Are Coming Back

Because your modern camera wasnt designed to communicate with

old lenses, you will (probably) not be able to use the autofocus
feature. There are a few exceptions with vintage Nikon F mount
lenses, but even then it can be difficult to get the old autofocus parts
to function correctly. This makes it difficult to use vintage glass in a
photography context, but this shouldnt be a problem for film or
video projects.

If youve been following the Petzval lens, then youve probably seen
the amazing footage and images it can create. In short, the Petzval
lens was a vintage lens from themid-1800s that has recently been
recreated for the modern user. Instead of having to buy an adapter,
the Petzval lens comes natively in both Canon and Nikon lens
mounts.

7. You Can Add Gear Rings to Vintage Glass to Make

Them Cine-Lenses
The internet is full of adaptable gear rings that can make any lens a
cine-lens. All you need to do is buy a simple gear ring kit and secure
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SECTION 17

Five Tips For Capturing Better Low-Light Footage

Full-frame DSLRs unlocked the potential of shooting in extremely low-light situations by delivering great results at high ISOs. However, the vast majority
of DPs today are not shooting full frame and need to think outside of the box when it comes to capturing images in low light.
Over the last few years, DSLRs and other digital cinema cameras
have improved by leaps and bounds. The average camera today
offers better codecs, more video functionality, higher frame rates,
and other essential improvements that have proved to be invaluable
for so many shooters out there. One area that hasnt improved as
dramatically across the board is low-light performance.

average DSLR or cinema camera today will not perform well in

extremely low-light situations. In fact, many cameras today dont
necessarily offer any better low-light performance than their
predecessors. For instance a Lumix GH4 (which is a fantastic
camera), is not great in low light. It would undoubtably be
outperformed in a low-light shooting situation by even a first
generation Canon 5D MK II.

While it might be true that cameras like the Sony a7S or the Canon
C300 have given us remarkable low-light performance, the fact of
the matter is that these cameras are the exception not the rule. The

Take better low light shots! Follow these five tips for success

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shoot at F0.95 (like the Voigtlander lenses), so make sure to do some

research and pick up the best glass you can.

1. Always Shoot at ISO 800 or Below

Every camera is different and will inevitably have variances when it
comes to ISO performance. As a general rule of thumb, its
recommend that you shoot at a maximum ISO of 800. Even cameras
that can shoot cleanly at ISO 1600 or 3200 will still never perform as
well in terms of image quality, color depth, and dynamic range as
they would at a lower ISO.

3. Shoot From Farther Away

One of the issues with shooting in low light is that you will often
encounter focusing issues since youre likely going to be shooting
wide open on very fast lenses. A full frame camera with a 50mm f/1.2
lens will produce a razor thin depth of field. This means that if one of
your actors moves even an inch or two in the wrong direction, your
shot will be out of focus.

In an ideal world, you always want to shoot at your base ISO (which
is your cameras native sensitivity level), but some cameras have a
very low base ISO (lets say 200 or 400) which wouldnt be practical
for shooting in low light. Most cameras today will produce nice
results up to ISO 800 or so, even if they have a base ISO that is
significantly lower. So no matter which camera youre shooting on,
try to avoid bumping up your ISO too high. Yes, your image is going
to be darker than you might like in some circumstances, but the
other tips on this list will help you overcome those issues.

One of the biggest giveaways of a low-budget production is when all

the night footage drifts in and out of focus, as its obvious that the
filmmakers were shooting so wide open that they had trouble
following the action. The best way to remedy this is by shooting from
farther away so that your actors fall closer to the infinity focus
range.
Once you hit infinity focus, everything from that point on will be
perfectly sharp. If you can step back far enough while still keeping
your framing right, youll have a much easier time with focus and you
may not need to pull it at all. Alternatively, you could use a wider lens
that hits infinity at a closer distance than a long lens.

2. Invest in Extremely Fast Lenses

This one should be a no brainer, but it needs to be stated here. Why?
Because so many shooters attempt to shoot in low-light situations
with slow glass. If you want to keep your ISO at 800 or below, and
dont have any additional lighting to help with your exposure, you
absolutely need to let in as much light as possible so that your sensor
has something to read.

4. Choose the Right Location

When youre shooting without lighting (whether during day or
night), you need to spend extra time scouting your locations and
prepping for the shoot. You dont want to just assume that youll
have enough ambient street light in a specific location to give you the
results that you need. Until you actually go out there with your
camera and see how the light reads, youll just be guessing.

If you dont already have lenses that are at least an F1.4 (or
preferably even lower), then you will need to go out and get at least
one or two so that you are covered in extreme situations. This is
especially true if you are shooting on a smaller sensor camera like
the Blackmagic Pocket camera (with its super 16mm sized sensor),
since the sensor size of your camera is directly related to low-light
performance. There are relatively affordable lenses today that can

When you take the time to do a proper location scout/tech test and
see what youre working with, youll know right then and there
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whether or not your results will be useable. And if the light isnt
registering on camera the way that you thought that it would, be
thankful that you caught the issue early and find another location.
Certain streets/blocks are going to be better lit than others, so do
your homework and make sure you know exactly what youre getting
yourself into.

5. De-Noise in Post
If you followed all of these steps and your footage is still a little bit
noisy or grainy, take your best shot at improving the shot in post.
There are an abundance of post-production tools out there that are
designed to clean up your footage and reduce grain many of which
are truly remarkable. Neat Video is a great plugin for noise
reduction. Other software like Adobe After Effects or DaVinci
Resolve will have noise reduction tools built right in.
Also dont sweat it if you need to de-noise your footage. It doesnt
mean that you didnt shoot properly. Some cameras just dont pick up
certain luminance levels as well as others, so even if you follow all
the right steps you may wind up with some grain.

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SECTION 18

Shooting With a Shallow Depth of Field

Give your video shots greater dimension! Follow these tips for shooting shallow depth of field.
Shallow depth of field places the focus on one part of your image,
while other areas in the frame are out of focus. A lot of video
newbies struggle with creating selective focus in their videos.
Follow these tips to give your video shots shallow DoF.

lenses are expensive. Instead of spending thousands of dollars on

wide-aperture zoom lenses, try looking for prime lenses instead.
They tend to give you a much wider aperture at a much lower cost.
Plus, having a zoom lens isnt as important with video as it is for still
photography.

Creating Shallow Depth of Field

2. Use a Telephoto Lens

1. Open Up Your Aperture

Telephoto lenses have a much more shallow depth of field than their
wider counterparts. This means, generally, an 85mm lens will have a
more shallow depth of field than a 50mm lens and so on.

The quickest way to get shallow depth of field is to shoot with a

wide-aperture lens at a low f-stop number. Unfortunately, these
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3. Create Distance

7. Use a Follow Focus

Simply separating the distance of your subject from the other

elements in your frame will increase background blur considerably.
Another consideration would be moving your subject close to your
camera. This will give you a psuedo-macro environment and make
your background much blurrier.

A follow focus is essentially a small wheel that can manually adjust

the focus of your lens. When working with shallow depth of field, it
can be really easy to over or undershoot your focus points if youre
simply adjusting the focus with your hand. A follow focus will allow
you to make very precise changes in your focus.

4. Use a Full-Frame Camera

Full-frame sensors are more capable of producing a shallower depth

of field than a cropped sensor. This is due to the fact that to get a
50mm equivalent image on a APS-C sensor you would need to use a
31mm lens the wider the lens the less blurry the background.
5. Focus on the Eyes

Audiences are extremely unforgiving if your subjects eyes are out of

focus. When performing a critical focus, concentrate on the eyes.
This is of course not a hard-and-fast rule, but in most circumstances,
eyes make great focus points.
6. Use a Monitor With Focus Assist

A portable reference monitor is essential if you want to take your

productions to the next level. You need to see your footage in a
larger format than the small LCD screen on your camera. One key
feature that high-end monitors have over their cheaper
counterparts is the ability to display focusing information. Focus
grids make it easier to tell if your subject is in focus or not. When you
have a shallow depth of field, these become even more important.

8. Use ND Filters

As we discussed above, one of the best ways to get a shallow depth

of field is to use a wide aperture. But if you are shooting in a bright
environment like the outdoors, then youll likely have an
overexposed image that will be unusable. To fix this problem, try
shooting with an ND filter. An ND filter will act like sunglasses for
your camera, cutting down the amount of incoming light. This will
allow you to shoot at wide apertures even in bright sunlight.

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9. Find Your Marks

If youre shooting a film with a shallow depth of field, marking your

actors marks (and your focus marks!) is incredibly important. Most
follow focuses allow you to write markers with dry erase markers.
However if you arent using a follow focus, youre still fine. You can
use a pencil to mark your focus points on your lens and erase them
afterwards. It can be helpful to label your actors marks with gaff
tape.

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SECTION 19

Five Reasons Why You Should Use a Prime Lens

There are a ton of benefits to shooting with a prime lens. Here are the top five.
To anyone in the photography or filmmaking world, prime lenses
give you the biggest bang for your buck. There are many benefits to
shooting with primes over shooting with kit lenses.

bokeh is a quick way to make your images look more interesting to

the viewer.

1. Bokeh

Better light gathering allows you to shoot in lower light. A largerapertured prime lens has greater light-gathering power than its kit
counterpart. This is huge for photographers because it allows them
to shoot at a much faster shutter speed to minimize camera shake.
This isnt to be confused with image stabilization, but it is a cheap
alternative.

2. Light Gathering

First of all, its pronounced Boh-Kuh not Bow-Kay.

Prime lenses tend to have wider apertures than their kit
counterparts. This creates a shallower depth of field and more
background blur. When objects in the background blur out to form
large orbs its called bokeh. For photographers and filmmakers,

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3. Quality
Because kit lenses have many moving parts, but still need to be
affordable, they are often very cheap and break easily. Prime lenses,
on the other hand, tend to be more durable than kit lenses.

4. Value
As artists, we need to save money wherever we can, and prime
lenses are a great place to do just that. Instead of spending
thousands of dollars on an expensive zoom lens, try buying a nice
prime set instead. You will get all the benefits of the expensive zoom
lens at a much lower cost.

5. Size
Prime lenses tend to be much smaller than zoom lenses, making
them easier to carry and shoot with. This isnt a huge problem. But
when you have limited space in your camera bag, every inch counts.

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9 Tips for Shooting Cinematic Footage

Looking to give your footage a high-budget cinematic look? Check out these tips.
Theres a lot more that goes into getting a cinematic image than
simply buying the right camera. From pre-production to post, every
aspect of the filmmaking process works together to create a
beautiful end film. Lets take a look at a few waysto create beautiful
cinematic footage.

the ideas from your head onto paper so you can share them with the
rest of the crew.
Even if you think you have an incredibly clear vision for your film in
your head, you will inevitably run into a point on set where your
original creative vision is getting a little fuzzy under pressure.

1. Storyboard

Take time to storyboardeach shot before you arrive on set. You

dont have to be the best artist in the world. Just jot down
composition notes as best you can.

Storyboarding is one of the most overlooked yet vital aspects of

filmmaking. While you may not be able to storyboard for every
project (like, say a documentary), you should always be
storyboarding for a narrative film. Storyboarding allows you to get

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2. Shoot 24fps

5. High Dynamic Range

Almost all modern film is shot in 24 fps, however the default for most
modern video cameras is 30fps. So if you want to make your footage
look more cinematic, you need to be shooting in 24fps. Most modern
cameras allow you to at least change between 30fps and 24fps.

Dynamic range refers to your cameras ability to simultaneously

record both bright and dark areas. To illustrate the point, think about
terrible local news footage. In most of their footage, youll likely see
a reporter standing under direct sunlight with a sky that is
completely white. This is incredibly distracting and it will look
terrible to an audience in a theater.

If you want to shoot slow-motion footage, you could shoot at even

higher frame rates like 60fps or 120fps and slow it down to 24fps
when you edit.

Back in the day (5 years ago), cameras with high dynamic ranges
were very expensive. But with recent advancements in technology,
notably from Blackmagic Design, you can now get beautifully
balanced images for an affordable price.

3. Shallow Depth of Field

There are very few things as noticeably cinematic as a shallow depth
of field. If youre not already familiar with the term, depth of field
refers to the portion of the frame that is in focus. A camera like an
iPhone has a very wide depth of field, meaning its very hard to get a
background out of focus. A DSLR-style camera can get an out-offocus background very easily.

6. Shoot in RAW
Youve probably already heard of a term called codec. Essentially, a
codec is the way in which your camera packages up your video
before it gives it to the computer. Some codecs squish your video
files to make them smaller, while others allow for more information
and are subsequently larger in size. However, if you want to get the
best image possible, you dont want to use a codec at all. Instead you
should shoot in a format called RAW.

If youre determined to get the most cinematic footage possible on a

budget, you should definitely look into using a DSLR or mirrorless
photographic-style camera instead of a camcorder.

4. Dont Zoom

RAW files are essentially the raw pixel information straight from the
camera to the card. Instead of the camera compressing the video
image, it will record all of the data to a card. This will result in some
pretty large file sizes, but you will have greater control over the color
of your video when you jump into your editing software.

Zooming is great for shooting a high school football game, not so

much for shooting a film. There are very few cases of zooming in
modern cinema. Dont believe me? Watch your favorite film and look
for the number of times they zoom.
Unless youre watching an Edgar Wright film, its unlikely that youll
find any zooming shots. Instead filmmakers typically use a technique
called dollying in which they will physically move the entire camera
towards the subject. The result is a much more natural movement
that is pleasing to the eye.

7. Dramatic Lighting
Lighting is not as scary as it sounds. While you could certainly spend
your entire career trying to understand the subtle nuances
associated with cinematic lighting, it doesnt necessarily take an
expert to create decent lighting. All you really need is a 5-in-1

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reflectorand a cheap LED light. Less is more when it comes to

lighting a cinematic image. With just a few lights, you can create a
beautifully cinematic image.

8. Prime Lenses
If you want to make your footage (and photographs, for that matter)
look 4x better, go out and buy a prime lens. Sure, a prime lens doesnt
quite give you the flexibility of shooting on a zoom lens, but you
probably wont be using that zoom feature anyways (remember #4).
Prime lenses tend to be sharper, better in low light, and capable of
producing a more shallow depth of field.
Prime lenses can be incredibly expensive (like in the $100K
range)but they can also be incredibly cheap. At $100,Canons 50mm
f/1.8is a great place to start. If thats still too much, you can always
convert an old prime lens using an adapter.

9. Color Grade
It can be easy to simply want to export your project once you get
done editing, but if you want your footage to look really cinematic,
you should color correct and grade all of your footage before hitting
that export button. There are people who spend their entire careers
color grading footage, so dont think this process is easy. Luckily,
there are a lot of really easy resources out there for creating
cinematic color grades very quickly.
Most notably is Magic Bullet from Red Giant. Using their drag and
drop color grading presets, you can very quickly give your footage a
stylized look. If your budget is slim, there are also a lot of good free
color grading presetsout there.

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SECTION 21

Cinematography Tip: How to Create Soft Diffused Light

Soft light is a fantastic resource for any filmmaker. Letstake a look at ten ways to create soft, diffused light on a film set.
Every great cinematographer has a deep understanding of the way
light works. Unfortunately, many indie filmmakers focus way too
heavily on the gear and not the actual image theyre shooting
especially when it comes to light. Letstake a closer look at lighting
and discover a few ways to create a soft, cinematic look.

shadows with very sharp edges, whereas soft light will have
shadows with soft edges or no defined edges at all.
The thing that makes a light either soft or hard isthe relative size of
the light source. A small source will be much harsher than a larger
source.The best example of this is the sky. On a bright and sunny
day, your shadows will be incredibly sharp because the light source
that hits you (the Sun) is relatively very small in the sky.

Hard vs. Soft Lighting

In film, video, and photography, there are two big categories of light:
hard light and soft light. You can easily figure out if your light source
is hard or soft by looking at the shadows. Hard lights will have

Now contrast a sunny day with an overcast day. On anovercast day,

you no longer have a strong single point in the sky hitting your

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subject, rather the light is diffused across the entire sky. The result is
incredibly soft shadows.

subject gets bigger, so should the size of your light source (if you
want soft shadows).

Why Soft Lighting Rules

Lets break down a few ways to get softer light on set.

One type of light source is not better than the other. Both hard and
soft lights have their own storytelling purposesin both film and
photography. That being said, soft light is much easier to work with
than hard light. This is for a number of reasons.

1. Diffusion Paper

Diffusion paperis a great option if you want to soften your lighting

up just a bit. The paper is usually clamped to the barn doors of a
light. The result isnt dramatic, but it is subtle enough if youre trying
to soften upthe overall look.

First, soft light doesnt draw attention to shadows as much as hard

light. By nature, our eyesare drawn to points of high contrast.If
youre using hard lights, your viewers eyes may be focusing on
points in the frame other than your subject. Soft light helps make
your subject look as good as possible by minimizing wrinkles and
blemishes, which is incredibly important for commercials and
corporate videos.

Some people use wax paper instead of diffusion paper to get the
same effect. While this may work with LED lights, you shouldnt use
wax paper on a tungsten light as thepaper can catch fire.
2. Softboxes

When shooting with hard light, its not uncommon to have to force
your subjectto stay in a very particular place. But when shooting in
soft lighting, you typically have more freedom for your subject to
move around the frame.

A softboxisincredibly versatile on set, making it a great key, fill, or

back light for your subject. Thesoftness ofthe light produced from a
softbox depends on the size of the face. In general, larger softboxes
will produce softer light than smaller softboxes.

Diffusion Techniques

Be careful when looking for softboxes online. There are a lot of

reallyterrible softbox brands out there that target indie filmmakers.
These lights break easily and have horrible color casts. I recommend
using a simple Lowel softbox kit if youre just starting out.

In a nutshell, diffusion changes the relative size of a light source. For

example, if we were to place a white sheet between your subject and
a floodlight, we would get much softer shadows than if we simply hit
the subject directly with the floodlight.

3. Umbrellas

Its important to emphasize the words relative size here.While a

softbox may produce soft shadows on a human when five feet away,
it will likely produce sharp shadows on a car. In ideal soft lighting
scenarios, theres a direct relationship between the size of your
subject and the recommended size of your source light.As your

Umbrellas are similar to softboxes in that they are usually attached

to a light source.Depending on the type of umbrella you are using,
you can eithershoot through the umbrella or bounce light off the
umbrella onto your subject.

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Some umbrellas are made up of a white cloth and others are made up
of a metallic material.Both are good and both can produce soft light
depending on the material and the distance from the subject.

youre in a pinch. I often use these diffusion screens when outside in

direct sunlight.
7. Bounce Light Off the Ceiling or Wall

4. China Balls

If youre working in a boring office space or home (or if youve simply

forgotten your softbox) you can always bounce light off of the
ceiling. This technique essentially turns the entire wall into one big
soft light.I typically use this technique if I want to light an entire
room evenly. Just keep in mind youll need a powerful light if your
room has tall ceilings.

If youre looking for incredibly even lighting to add to your scene, a

china ball is a great place to start.Theyre incredibly cheap and the
light they produce is just the right kind of soft. The only downside to
working with china balls is the fact that they are hard to mount. But
if youre willing to work with them, they can give you nice soft light
for very little money.

8. Shade

5. Silks/Scrims

If youre shooting outdoors and looking for soft light, try to find
some shade. Instead of diffusing the light, shade will completely cut
off the main light source. Instead of being lit from the sun, your
subject will be lit by light bouncing off of objects from all around you.

A silk is typically placed on a separate stand between your subject

and your light source. Silks can be large (up to 20 ft. x 20 ft.) or small.
You will normally hear silks referred to by the size of the metal frame
around them. Common sizes include 44, 66, 88, and 1212.
If youre on an indie budget, you dont necessarily have to buy a
professional silk to get a similar light effect.Most of the time you
can get away with just suspending a white sheet or shower curtain
between your subject and the light source. Be sure to bringlots of
sandbagswhen using silks. If the wind catches your silk just right, it
might fall and hurt somebody!

One thing to look for when shooting in the shade is blown-out

backgrounds. Because your subject will be out of direct sunlight,
theres a really good chance that your background will be incredibly
bright. Just keep this in mind when framing up your shot. Theres also
the chance that your lighting may change while shooting in the
shade, so its best to shoot in the shade if youre shootinga short
scene.

6. 5-in-1 Reflector Diffusion Screen

9. Windows

If you dont already have a 5-in-1 reflector, stop reading this article
and go buy one. There is no lighting tool more essential to indie
cinematographers than a 5-in-1 reflector. The inside of a 5-in-1 is
made up of a light diffusion fabric that can be used to cut light from a
bright light source. They can be mounted to a c-stand or held when

Another option for getting soft light is to put your subject near a
window. Windows produce incredibly bright and soft light and its
not uncommon for photographers to use this light to their
advantage. Filmmakers are a little more limited when it comes to
window light, aslight could possibly change as the day progresses.

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But if you need soft light quick, a window is a quick and easy way to
do it.
One thing to consider when shooting near a window is color
casts.Lights in your home are typically tungsten balanced (orange)
while sunlight coming through a window is typically daylight
balanced (blue). In order to avoid shooting in mixed lighting, you may
want to invest in a CTO daylight conversion filter to place over your
window.
10. Book Lighting

Theres another popular lighting technique thats been making its

way through the filmmaking world called book lighting. Book lighting
is essentially a double diffusion technique that always uses at least
one silk.The trick with book lighting is to not have thephysical light
source pointed at your subject. Instead your light will bounce from
one source and then hit a silk. The result is a very soft glow. Book
lightingshould be used if you want the softest light possible. Keep in
mind: setting this up can take a while.

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3 More Creative Practical Lighting Methods

Practical lighting is becoming more common than ever thanks to the low-light abilities of modern digital cinema cameras. Here are a few of the most
effective practical lights that are sure to add character to just about any image.

Many well-known Directors and DPs have turned to practical lights

over the years as a means to stylize and enhance their work.

ever as the increased sensitivity of digital cinema cameras allows for

practicals to be used in a more powerful way.

In years past, it was relatively uncommon to use practical lighting on

a film set as a means of achieving proper exposure. In fact, it was
much more common to simply use practical lights as a method of
motivating light that was actually coming from a traditional film
lighting source. Today however, practical lights are more useful than

Practicals are of course regular lights that can organically appear

in a shot. Examples might include a street light, a desk lamp, or even
a fire. Virtually any light source thats not a traditional film light can
be considered a practical light, though some are more effective than

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others. Below is a short list of three practical lighting sources, and

how to use them most effectively.

in your frame, the diffusion wont likely be noticeable at all,

especially if youre shooting at a relatively shallow depth of field.

1. Fluorescent Ceiling Fixtures

3. Candles

Many offices, parking garages, and industrial buildings have

fluorescent ceiling lights, and they can make for some of the most
useful practical light sources out there. The quality of light from
these types of ceiling lights is very similar to what you might achieve
with a kino-flo, but of course with the added benefit that they can be
shown in the frame.

Ever since Stanley Kubrick used candle light to illuminate Barry

Lyndon, filmmakers everywhere have been trying to emulate that
look. In Kubricks day though, he needed to film on a custom F0.7
lens in order to get enough exposure to shoot this way. Filmmakers
today have things much easier.
Assuming youve got a relatively sensitive low-light camera, chances
are you can get away with using only candle light if thats the look
youre after. That said, you may not want to rely solely on candle
lighting for your scene, as that can cause other headaches on set.

Typically when using fluorescent ceiling lights as practicals, its best

unscrew or remove certain bulbs as a means to shape and control
light. Doing so allows for an even textured lighting to fall throughout
the scene, giving the actors a lot of wiggle room to move freely
during their performance.

An alternative option would be to use a small space light to bring up

the ambience in the room, and then use candles to shape the rest of
the light in the scene. The quality of light and natural flicker effect
from real candles simply cant be replicated perfectly with any other
tool on set or in the color suite.

In addition to their quality of light, fluorescents also look fantastic on

camera. Low angle shots that reveal the ceiling will look great as the
fluorescent tubes glow in the background and add depth to the shot.

2. Car Headlights
Headlights are extremely powerful light sources and can be hugely
useful in a wide variety of shooting scenarios. A great way to use
them is to backlight actors with them, and then use a bounce to push
some fill light back onto their faces.
They can also be used as a key light, but remember that if the car isnt
in your frame, youll at the very least want to establish it in a master
shot. Otherwise the extremely bright lights will look out of place and
may disorient the viewer.
Also, dont be afraid to add diffusion to your car headlights to soften
them and bring down the overall light levels. Even if the lights appear

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How to Creatively Use a Reflector on Location

Utilize these tipsto creatively use a reflector on location to capture the right lighting for your next production.
On every major production set, cinematographers and
videographers utilize reflectors to help enhance or dilute light. The
same creative practices that these large-scaleproductions use can
be replicated by you using a standard collapsable reflector or
reflector panel that wont kill your budget.

need. Lets look atways totake advantage of this light by learning

how to creatively use a reflector on location.

As a Key Light
A key light is your most crucial light. It clearly highlights the form of
your character. Now, if you find yourself on location with nothing
but natural light, you can use a reflector to generate the key. What
youll want to do isplace your talent with their backs to the sun. You
can now use the reflector to bounce the sunlight onto their face,
thus creating a key light.

There will be times when youre on location and you only have
natural light around you to work with. Or there will be instances
where you have lights available, but their output is more than you

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Utilize It as a Diffuser

A Kaleidoscope of Color

Sometimes when filming youll find that you might have too much
light. In this case youll want to diffuse that light so your character
isnt harshly lit.

What if you need a variation of color that moves in the lighting of

your shot? You can use a reflector for that tooby attaching color gels
to the surface of the reflector andbouncing the light from the sun or
a light onto the subject. This could be used in situationswhere the
lighting calls for a need of multiple colors, such as simulating the
flicker of fire on a characters face.

If youre working on location using natural light, then you can use the
translucent side of your 5-in-1 reflector and place it between your
character and the sun to diffuse it. This will cast a nice smooth light
across your character versus a harsh light.

Adding Shadow or Negative Fill

Another way to use a reflector creatively is to use it as a shader.
There have been countless times on various sets where the natural
light is great, especially later in the day, and your character is getting
agreat key light on the side of their face. But then you notice that
there is a reflective light on the other side of the face and you would
like that to be darkened with a shadow.
For this youll want to use the black-facing side of the reflector and
situate it between your character and the reflective light source.
Once this is done, you should see that your character has a nice even
shadow opposite of the key light.

CreateRim Light
Rim light is almost as crucial as the key light. Its used to separate the
character or subject from the background, giving your shot depth. In
order to get this type of lighting with a reflector, take a 300k light,
point it straight up, and use the reflector at an angle to bounce that
light onto the subject. The light is now diffused enough that it
doesnt create a sharp edge light and it backlights the subject in an
even manner.

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SECTION 24

Essential Gear for Product Videos

Shooting a professional product video is surprisingly easy if you have the right gear.Heres everything you need.
While many professional videographersshoot product videosin
super boring andugly rooms, you dont want your finished video to
look anything short of perfect. Letstake a look at some of the most
important gear to bring to any product video shoot.

diffusing light

reflecting light

flagging light

1. Reflectors

absorbing light

The most important item to have on a product video shoot is a 5in-1 reflector.Reflectors serve as multi-tools on set because they
can do a number of different jobs, including:

makeshift backgrounds

Reflectors allow you to shapethe way yourproduct looks on

camera. There are a lot of DIY reflector tutorials out there, but all of
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themare impractical. Reflectors are inexpensive enough (around

$15) that theres really nothing to prevent you from buying your
own.

5. Tripod
The importance of a good tripod cantbe overstated. While youll
typically find the best luck with afluid head tripod, you dont have to
spend hundreds of dollars to get a decent set of sticks.There are a
lot of good, affordable tripod options out there, if you just take the
time to do your homework. One of my favorite brands is Magnus.
While their tripods will only last about three to five years, they are
super smooth, especially when you consider that theyre friction
head.

2. C-Stands
C-Stands are especially important when shootingproduct videos.
Even more than most commercial work, a product video will require
subtle changes in lighting; you might needto add
additionalreflectors or even a backlight to your subject. Between
holding up the background, lights, and reflectors, its not uncommon
to need six or more C-Stands on a product video shoot. Make sure
you have plenty when you arrive on set.

6. External Monitor
Details are everything in filmmaking and video production. This is
especially true for product videos. On a narrative set, you might be
able to get by with a focus thats slightly off. But if your focus is even
a little off on a product video shoot, youre going to have to reshoot.
This is why an external monitor is super important. An external
monitor will allow you to see your finished footage the way your
audience will see it. Goodexternal recorders will allow you to see
your focus points and findany overexposed areas.

3. Soft Box
Theres a time and a place for harsh lighting. Product videos are not
the time nor the place. If you do a lot of product photography,
owning a soft box is a must.A soft box makes it a lot easier for you to
light yourscene; it will soften shadows, eliminating visual
distractions.One way to approach product lighting is place two soft
boxes around your subject (one to the left. one to the right) and then
add in smaller lightsto stylize the scene.

7. Backgrounds: Paper > Cloth

Nine times out of ten, your background for a product video will be
either solid white or solid black. Normally when youre shooting a
video with a solid background, you want any distracting background
creases or wrinkles to be minimized. This is especially important for
product videos. Any distracting background blemishes will distract
the viewers from the actual product being featured.

4. Macro Lens
A macro lens has a very short minimum focus distance that allows
you to get really close to your subject. As you can imagine, this is
imperative if you are shooting a product video. The most popular
macro lens on the market is a 100mm f/2.8. This lens, found across
multiple brands, isperfect for shooting small objects.

It is recommended to use rolls of paper rather than cloth when

working withsolid backgrounds. Paper rolls are consistently smooth
and solid, perfect for product videos. Plus, if you accidentally stain
the paper, you can just cut it off and roll out some more.

While not technically a macro lens, if your subject is a little larger

you should usea 50mm prime. This will allow you to get wide and not
distort your subjectin the camera. And, frankly you really should
have a 50mm prime in your lens bag anyways.

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Fun Fact: If you want your product videos to have a little reflectivity, place
a solid piece of glass down over your table top.

comes into play. When coupled with a decent rotating head, a slider
can add a lot of visual interest to an otherwise boring video.

8. Gaff Tape

11. Wood Panels (Fake Wood Table)

Okay, so maybe gaff tape doesnt necessarily fall into the gear
category, but its still an incredibly useful tool on any film or video
set. Gaff tape, as you can imagine, can serve many different roles on
set. It can hold down loose background pieces, keep your products
steady, set actor marks, hold reflectors steady, and much more.

Typically when you see product videos with hipster table tops, the
table top isnt actually real. Its typically a wooden panel thats been
put together to simulate a real table. This helps with storage space
and allows you to light the scene more easily.
All you really need to do is get afew pieces of plywood and an
assortment of wood stain. Simply stain one side one color and the
other side another color. Now you have two different table tops
without having to store two different tables. Of course, this method
doesnt work if you need the actual table legs in the shot. But for
most shooting scenarios, this set up will work great.

While you will have to fork over a little extra cash to get gaff tape
over other kinds of tape, its absolutely worth it. Gaff tape doesnt
leave residue behind.

9. Lazy Susan
If youve ever eaten at a fancy Chinese restaurant, then you probably
have experience with a Lazy Susan. In a nutshell, a Lazy Susan is a
small tabletop that spins in circles. If your product photography
requires you to shoot all 360 degrees of the featured product, this is
a must especially because you cant move your camera all the way
around your subjectwithout getting lights and crew members in the
shot.
All you really need to do is place a piece of solid-colored poster
board over a Lazy Susan, tape it down, and then have a crew member
(or yourself) give it a spin. Its actually pretty easy to use and the
results look fantastic.

10. Slider
Good product commercials have one thing in common: movement. It
doesnt matter how good your lighting is, if the footage is boring,
nobody is going to want to watch it. The slightest movements will go
a long way when shootingproduct videos. This is where a slider

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Three Tips For Lighting Product Shots On A White Backdrop

Shootingproduct shots on a seamless white backdrop calls for a very specific approach to lighting. Here are some tips on how to get it right next time
youre in the studio.
Many cinematographers and shooters mistakenly assume that
shooting product shots is simple. They often feel that, because
theyre effectively shooting a still object, theyll be able to get good
results with their eyes closed even if they have little or no
experience in that realm.

are some universal principles that come into play when shooting
just about any type of product.
If you regularly shoot commercial content, theres a very good
chance at some point youre going to need to step up to the plate
and deliver clean product shots. Here are some crucial lighting tips
to take into account when you get there.

The reality, of course, is that lighting product shots is as complex as

anything else. Each product will have its own unique challenges and
needs to be approached as its own entity. At the same time, there

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1. Always Use Soft Lighting

3. Know When to Backlight

Commercial and product photography is all about beauty, and we all

know that soft light is far more conducive to a beauty shot than hard
light. This is true across the board, whether youre shooting products
or talent.

There are many scenarios where a backlight isnt necessary when

shooting products on a white seamless, but in some cases a backlight
can actually be very helpful. For instance, if youre shooting a lightcolored product against white (or a transparent/clear product) and
needs it to stand out more obviously, backlighting is a great solution.

While there may be some exceptions to this rule (depending on the

type of product youre shooting), youre almost always better off
using soft light sources. This will not only help you get more pleasing
results on the product itself, but will also help you control the spill on
the white background, which can save you a lot of time on set.

That said, you need to be careful with how and where you place your
backlight to maintain the consistency of a polished, neutral look. A
singular backlight placed above and behind the product is usually an
optimal location, as placing your backlight off to one side or another
might throw off the symmetry.

2. Use Flat Lighting if Necessary

If you come from a cinematic background, you probably have it
drilled into your head that you should never light a scene so that it
appears flat. Film is all about finding pockets of light and shadows to
add dramatic effect, and flat lighting of course does the exact
opposite of that.
With products however, you generally arent trying to dramatize
anything. Youre almost always trying to capturethe most realistic
and neutral version of the product that you can, and in order to
achieve that end result, flat lighting may be critical.
I typically recommend lighting your product shots very evenly with
one source directly in front or overhead(depending on your product)
and two additional sources one on each side of your background.
This will help you to not only achieve a very flat look, but also will
help you to avoid shadows, which can become problematic when
working with certain types of material.

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SECTION 1

Five Tips for Planning Your Audio in Pre-Production

Capturing great audio begins before hitting record.

Having low-quality audio in your film or video is a quick way to lose
credibility in the eyes of your audience. Instead of simply taking
audio into consideration once you get on set, you should prepare to
make your audio amazing before production even begins. Lets take
a look at five ways you can plan out your audio approach during preproduction.

important to develop an ear. Keep the acoustics of your location in

mind. Does your voice echo loudly in the room? Is it in a highlypopulated area? Along with the room acoustics, you need to be able
to control other audio related factors like the air-conditioner or a
humming refrigerator.
What ambient noises can you anticipate? If youre shooting in a
large building, you might not be able to turn off the air conditioner
using a thermostat on a wall. For this reason, its important to have a
location contact that can help answer your location-related
questions.

1. Go Scouting
Location scouting is one of the most important aspects of the preproduction process. As a filmmaker, youve probably already
developed an eye for finding good locations, but its equally

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You should also be mindful of things like proximity to airports, fire

stations, and bus routes, as these things might not be heard during
location scouting but can definitely be picked up by your
microphones. Its also important to look around and see if there are
any construction projects going on; construction noise is a setback
that can be disastrous for location sound. You dont want to be
surprised by ambient noises once you get on set.

In order to do this, youll need to have your audio person involved in

the pre-production process. This admittedly adds another layer of
complexity to the whole process, but it definitely pays off in the end.

3. Invest
Indie productions are notorious for having incredibly bad audio. It
doesnt matter if your image is immaculate if the audio is bad your
audience isnt buying it. If youre serious about your project, its
important to invest in quality audio equipment.

2. What Does the Shot Demand?

Online rental houses like BorrowLenses, LensRentals.com, and

LensProtoGo all offer microphone and audio gear at affordable
prices. If youre needing the equipment for an extended period of
time, inquire about a discount.
Good audio investments dont end once the shoot is wrapped. Its
equally important to invest in your audio during post-production.
Instead of using low-quality music, spending a fortune for original
composition, or using copyrighted commercial tracks (which could
put you in legal hot water), consider high quality production music.

Top-notch wardrobe has the ability to add a greater sense of

believability to your film, but when picking your characters clothing
its important to consider audio. For example, silk clothing is
notorious for being difficult to mic, so you might consider using a
boom mic instead of a lavalier. You may even want to change the
wardrobe to accommodate.

4. Hire a Professional Boom Operator/Sound Mixer

Sites like Mandy.com and ProductionHub are great resources for
locating audio specialists in your area. This is a key crew member, so
dont fall for letting a friend or family member be your on-set audio
person. Filmmakers and video pros often get caught up in the visuals
of the production and the audio takes a back seat.

Its also important to think about the action in your scene before you
arrive on set. Will the actors be walking and talking? If so, will their
backs be to the camera while theyre talking? How much are they
going to move? Asking these questions before shooting may also
speed up your production time. Instead of showing up on set and
deciding what mics to use, make an educated decision before you
arrive.

Capturing audio on set is more than just holding a boom pole.

Professional sound recordists will have experience using field
mixers, know the proper ways to mic talent, and can work in tandem
with the director of photography.

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5. Make a Plan
Making a detailed plan is imperative for streamlining the production
process. If you are creating storyboards before you shoot (which
you should be) take the audio into consideration during this process.
The audio recorder and video editor will be appreciative when you
hand them a detailed storyboard with audio notes. Always schedule
time to record natural sound while youre on location.
Picking up several minutes of natural sound from every location is
important for preventing choppy audio in post. Be sure to record
additional natural sound every time the audio environment changes
(for instance, if an A/C unit kicks on). This is really important for
preventing choppy audio in post.

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SECTION 2

How to Capture High Quality Audio for Low Budget Films

Reducing background buzz and hum when recording location sound can be a challenge! Follow these three simple tips to get cleaner location sound on
your next shoot.
Want to drive yourself crazy? Try removing audio buzz or hum
during video editing. Isolating bad audio frequencies without
distorting dialogue or intentional on-camera sound can be a
frustrating challenge.

Three common sources of on-location background buzz and hum

are:

Its always best to get the cleanest on-location sound instead of

attempting a post-production fix. Youll save yourself time at the
end of your project and will likely have a better sounding product.

Heating, Ventilation, and Air Conditioning Systems

Lighting
Refrigerators

The following on-location sound tips will address each of these

problem sources and how to minimize their effect on your audio.

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refrigerator can stay cool for a while but you dont want to forget
to turn it back on!

Play Weatherman
A/C units may be the #1 culprit for picking up bad background audio.
They rumble, hum, and can really muddy up an audio track. To top it
off, theyre erratic, turning on and off at random intervals (leading to
irksome shot inconsistencies). The only way to ensure that you dont
get A/C hum is to kill the system while youre shooting. Of course,
nobody likes burning up under hot production lighting.

How can you make sure you remember to turn it back on? By placing
your keys in the refrigerator when you unplug it. Theres no quicker
way to get banned from a location than to leave behind a
refrigerator full of spoiled food!

Luckily, theres a trick that will help keep your crew cool. As soon as
you arrive on set, radically adjust the heater or A/C unit. Let the unit
overcompensate. If its hot out, turn the air conditioner on blast.
Freeze the room. In cold weather do the opposite. Then, when youre
ready to start rolling, turn off the unit.

Blankets and a Step Stool

What about the times when you cant control the A/C unit? Big office
buildings are notorious for this.
Dont worry. Theres a trick for this situation, too. You can soften the
A/C unit hum by covering up vents with blankets. Professional
sound blankets are ideal, but if youre on a budget or in a pinch, even
your standard blanket or comforter could be a satisfactory
replacement. The step stool allows you to access high or hard-toreach vents.
If you have buzzy ballasts from location lighting, obviously the first
line of attack is to turn them off. Lighting that stays on all the time
(such as emergency lighting) may require you to physically remove
the bulb while shooting. The step stool also aids with this.

Freeze the Keys

Refrigerators cant be easily moved out of a location, so its best just
to turn the power off while rolling on set. With the door shut, a

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SECTION 3

Audio Tips for DSLR Filmmakers

Treating audio as an afterthought is a huge mistake. Up your sound game with these audio tips for DSLR filmmakers!
Although many filmmakers know just how critical great audio is to
the success of a film project, its still one of the most overlooked
aspects of the filmmaking process. This is unfortunate, as poor
sound quality can hinder all of the other elements that we work so
tirelessly on. In the end, nothing else matters if the sound quality is
poor.

absolutely must be dealt with in order to achieve any sort of success

with a film project.

Whether it be distracting background noises that have been picked

up (such as wind or cars passing by), or poorly recorded dialogue,
these issues greatly affect the overall viewing experience and

Dont Rely on Your DSLR

So for those of you DSLR filmmakers out there who are looking to
up your game with regards to audio, here are a few key tips to get
you started.
First and foremost, remember that theres no correlation between
your cameras ability to capture a great image and its ability to
record great audio.

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DSLRs are not designed to capture professional quality audio, no

matter how many manual controls or functions they may have. The
internal limitations of your DSLR can never be compensated for by
using better external devices (such as a high quality shotgun mic), as
the cameras limitations will always be the bottleneck as far as sound
quality goes.

Always Record Room Tone

Your DSLR may have manual control over levels or a headphone jack,
but that doesnt mean its going to record great audio. It simply
means that its somewhat competent at recording audio in a pinch or
can be used to record reference audio. Always use an external device
(whether it be as simple as a Zoom H6, or a more complex mixer/
recorder) in order to achieve professional-level sound.

Location audio professionals will typically record room tone for

every single location they are covering in order to pick up the
general hum and subtle noises present in every room. For example, if
you were to record room tone in a silent kitchen, you would
inevitably pick up the sound of the refrigerator buzzing, maybe a
door creaking in the background, a slight hum from the lights on in
the room, etc.

For those unfamiliar with the term, room tone is essentially the
ambient sound of a room. Room tone is always recorded on
professional sets so that the audio editor has scene-specific
background noise to work with if they need to patch over any sound
issues in their ProTools session.

Scout Locations
Do your field research! This is by far the cheapest available method
for achieving great sound. It costs you absolutely nothing to devote a
few days during pre-production to go to your various locations and
do some audio tests. You might feel this isnt necessary, but when
you get to set and realize that youre shooting in the middle of a
flight path, youre going to wish you scouted that location properly.

Room tone is usually recorded at the end of every scene for 30-60
seconds while the entire cast and crew stands silently or after
theyve cleared the room. Why is this important to your sound
quality as a whole? As touched on earlier, you typically use room
tone in post to help blend together multiple takes of audio so that
theres a consistent bed of sound that seamlessly melds together all
of the dialogue and ADR tracks.

The scout itself can be very simple. Just go to your location at

approximately the same time of day that youre going to shoot and
start looking for red flags. If youre shooting on a rooftop, make sure
the wind isnt out of control. If youre in a field, be aware of the
background noise created by crickets, birds, and other wildlife. If
possible, bring your sound recordist with you and actually do tests
with your equipment to see what noises youre picking up.

You can also use room tone to match ambient sounds when you
shoot multiple takes of the same scene and there are differences in
the background noise. For example, if in one take the air conditioner
goes on and in another it turns off, you will want to use room tone (of
the air conditioner on) to keep the sound of it present in the entire
scene.

Doing this costs you nothing but a bit of time upfront, and it could
potentially save you a ton of time and headaches both on set and in
the ProTools suite.

Final Thoughts
For top-tier production value when making a film, its vital that you
pay as much attention to your films audio needs as you do its visual

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needs. If you can be one of the few micro-budget filmmakers that

actually prioritizes sound, you will certainly reap the benefits of
going the extra mile.
Pristine sound adds another dimension to your film and ups the
production value in ways that the camera will never be able to.
Understanding your cameras capabilities, doing sound tests in each
of your locations, and recording room tone for every scene are three
of the simplest things you can do to vastly improve your films sound
quality.

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SECTION 4

How to Pick the Perfect Music for Your Video Projects

Sound shouldnt be overlooked! Discover how to choose the best music for your video projects.
Finding the right music for your video project can be a challenging
process especially when a client is involved! Follow these tips to
find the perfect music for your video projects.

2. Utilize the music in your editing pace. Cut to the music to drive
energy while cutting against it to create tension. Make thoughtful
choices about how you use music within your video edit.

Define the Music Early

3. Stay within budget. Nobody likes production surprises

especially when it comes to money. Licensing music early could
curtail the chances of a budget issue later.

This is important: look for your music before you finalize an edit!
Youll be one step ahead if you determine your music choices early
on in the production process. Planning ahead will allow you to:

Some editors prefer to create a very rough cut of an edit and try
different music tracks underneath to see which might work best.
Once a track is decided upon, they can clean up the edit to match

1. Get your clients music approval early on. The last thing you want
is to finalize an edit and have a client come back and ask for a music
change.
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the music. Its a useful approach, but must be done early on in the
post-production process.

Vocals or No Vocals?
Montages often use tracks with vocals and in most cases it may be
best left at that. Vocals under dialogue or an interview can be
distracting and off-putting. If you choose a vocal track for your
project, you have another matter to consider: Do the words support
whats happening in the scene? Good non-vocal tracks can convey
the same emotions without words and are usually a safer bet.

Set the Tone

This is an easy one: The tone of your video will typically dictate the
style/mood of the music tracks that make the cut. Unless youre
intentionally trying to use music to play against the action (like a
classical track under a fight scene), its best to find a track that
enhances the feeling of your scene. Consider your target viewer
whats their age and background? Whereas a corporate executive
may not identify with hard rock or hip-hop, this may be a perfect
style choice for a younger audience.

Avoid the Duration Traps

Dont be tied to the duration of your music! Instead, cut it up to work
best with your video. The typical cadence of a commercial song
(verse, chorus, bridge) may not flow with your edit.

Royalty free music libraries like PremiumBeat give you the option to
search by mood or genre, making it easy to find tracks that evoke a
certain emotional response.

Instead, loop parts of the track in your editing app, bringing in a

chorus or emotional climax at just the right time. Cut them together
will the full track version to tailor the audio to your visuals.

Music Throughout or Bookends?

Real Instruments

Depending on the type of video project, you may find that music
simply isnt needed throughout. Montages and demo reels typically
dictate end to end music, but a corporate video or film may actually
benefit from sporadic music or a bookended approach.
In many cases, music can actually be more powerful when it is used
intermittently; it can better accentuate a point or climax in the
video. If music is forced throughout, the viewer may get fatigued.
Allow for some breathing room and dont forget to let the
environmental and background sound help shape the audio of your
project.
Beware of music that uses MIDI or digitized instruments and effects.
These tracks may sound corny and cheap. Instead, ensure that the
tracks youre using feature real, organic instrumentation. To the
trained ear (and even the untrained!) a highly processed digital

If youre going with a bookended approach, it may be a good idea to

pick one music track (or theme) to open and close the video
especially on shorter video projects.

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keyboard often doesnt hold a candle to the organic sound of a baby

grand piano.
Additionally, the right instrumentation can contribute to the
message of your video. As an example, regional music can be
effective in creating the feeling of a certain locale. For instance,
traditional Asian or African music may be well-suited if youre
profiling such a location in your project.

Music Library vs. Original Composer

Depending on the scope your project, you may be considering either
using tracks from a royalty free music library or hiring an original
composer to score your video. Budget is the biggest consideration
here original composition doesnt come cheap. Additionally, having
a composer score your project is a time and labor intensive process.
Royalty free music provides a low-cost, high-quality alternative.
Whatever you do, avoid using copyright or commercial tracks in your
video projects. Despite your clients insistence, using a Coldplay
track in your video is cost-prohibitive to license and can put you in
legal hot water!
As a last point, pick your music with intention and make it an
important part of the process. The perfect track has the ability to
drive your editing decisions, engage your viewer, and enhance all the
feelings of your video project.

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SECTION 5

6 Microphone Pickup Patterns You Should Know

Dont pick the wrong mic!Find outwhen to use certain microphonesby learning these six essential microphone pickup patterns.
A filmis only as good as its audio. While it can be easy to get
captivatedby the visual side of a film, audio should be high on the
priority list of any director or producer. Bad audio can quickly turn
off an already distracted audience, so its important to pick the right
mic for the job. Letstake a look at six essential microphone pickup
patterns that every filmmaker should know.
There is no one-size-fits-all solution when recording audio on a film
set.You will likely want to bring a good assortment of lavs and
shotgun mics to accommodate different shooting scenarios on set.

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1. Omnidirectional

2. Cardioid

Perfect for:documentary recording, weddings, events

A cardioid pickup patternis a highly flexible pickup pattern that is
great for all-purpose use. Cardioid microphones come in all shapes
and sizes.A cardioid mic, while slightly directional, should not be
confused with a hypercardioid or supercardioid mic.Cardioid mics
will still pickup background noise if they are not in a controlled
environment.

Perfect for:interviews, moving subjects

Omnidirectional mics are the easiest to understand. Simply put,
omnidirectional mics record audio from every direction. Typically
you will want to use an omnidirectional mic when recording audio
that you cant control very well (likeambience, a press conference, or
a moving talking head). Omnidirectional mics are themost flexible
mics, but they are also the noisiest. Its certainly a balancing act
when on set. In a filmmaking context, you will almost exclusively see
omnidirectionalpickup patterns in lav mics.

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3. Hypercardioid (Mini-Shotguns)

4. Supercardioid (Shotgun)

Perfect for:reality television, scripted content

Perfect for:on-camera mics, documentary recording, and

instrument recording

Supercardioid mics are the most popular types of microphones for

indie filmmakers because theygive users the ability to isolate audio
while still allowing for a slight margin of error. Supercardioid pickup
patterns are typically only found in shotgun mics which are used on
boom poles or mounted to the top of a camera. It should be noted
that a supercardioid pickup patterndoes pickup some audio from
behind the microphone. So if you mount a supercardioid mic to your
camera, youll need to keep your operating noise to a minimum.

A hypercardioid pickup pattern is a directional pickup pattern that is

great for isolating audio. While you may find some lav mics with
hypercardioid pickup patterns, youll typically only see this pickup
pattern in shotgun mics. While every brand is different, the biggest
difference between a hypercardioid mic and a supercardioid mic is
how much of the rear and side noise is picked up. Hypercardioid mics
are typically used for instrument recording.

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5. Lobar (Unidirectional)

6. Bidirectional (Figure 8 Pattern)

Perfect for: narrative film, controlled sets

Perfect for:podcasts, radio interviews

While there is technically no such thing as a true unidirectional mic,

a lobar pattern is the most directional pickup pattern you can
use.While it may be appealing to a filmmaker to get amicrophone
with a lobar pickup pattern, you should seriously consider how
difficult itwill be to use a lobar microphone.

A bidirectional microphone is a mic designed to pickup audio equally

from the front and back of the mic. Typically, bidirectional
microphones are used for radio interview recording or podcasting.
You will probably not find much use for a bidirectional microphone
on a film set, but they can sometimes be used as a backup mic for talk
shows when placed on the hosts desk.

The only microphone that can have a lobar pickup pattern is a

shotgun mic, so youll almost always need someone to assist you
when operating a microphone with a lobar pickup pattern.If
yourboom pole is typically operated by a careless PA, you might
want to opt for a supercardioid mic instead, as the pickup pattern
will be more forgiving.

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163

SECTION 1

How to Direct Scenes Containing Minimal Dialogue

\

Master one of a film directors most important skills: Directing scenes that contain minimal dialogue.
It may sound like a cliche, but the old adage of Show, Dont Tell is
as relevant today as ever. As filmmakers, most of us understand the
notion that film is a visual medium and therefore the best stories are
often told by tapping into powerful visuals. However, many
filmmakers fail to actually put this ideology into practice and their
films run the risk of lacking depth.

not only in the more textural moments in your film, but also in the
verbal moments too. When visual cues, metaphors, and powerful
imagery work together the end product can really shine.

1. Imagine your Scenes as Dialogue.

A huge challenge for many filmmakers is conceptualizing and
writing material without a lot of dialogue. More often than not, the
dialogue-free scenes in films end up being nothing more than
transitional moments with very little inherent value unto
themselves, with the exception of helping to glue together other
pieces in the film.

There are countless incredible films that have an abundance of

dialogue, and the style or genre that you like to work in may call for
more heavy dialogue scenes. Regardless, knowing how to direct
scenes with minimal dialogue will inevitably improve your results

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The mistake that many filmmakers are prone to making is not

conceptualizing their dialogue-free scene in the same way they
would a verbally driven scene.

metaphorical meanings that ideally are subtle enough to hit the

viewer on a subtextual level.
Its amazing how powerful subtext is to the average viewer, and
many dialogue-free scenes that make use of symbolic or
metaphorical imagery are able to convey far more to the audience
than any amount of dialogue would be able to. Always look for ways
to add meaning to your scenes through the use of objects, colors,
wardrobe, props, or any other vehicle that may allow you to do so.

Its a good exercise for filmmakers to imagine dialogue in a scene

that doesnt have any and then ask themselves a few questions:
What do I want to tell the audience? How does this move the story
forward? What new character info do we get from this? Basically, ask
the same kind of questions you would consider when writing a
dialogue scene. Once these questions have been answered, coming
up with concepts for visuals that can illustrate them becomes much
easier.

4. Break Up Important Moments.

Another big trap that filmmakers tend to fall into is trying to cram
too much information into a single nonverbal moment. For example,
the filmmaker might want to convey a detail about one of their
characters.

Youre no longer just thinking about arbitrary images, but rather

meaningful information in a visual format.

2. Dont Overdo Coverage

Lets say that the character is a recovering alcoholic that relapses.

The filmmaker might decide to create one long visual scene that
somehow shows the character being tempted by alcohol and then
giving in. But placing too much information in one scene like this can
feel very cheesy and soap-opera like in many ways. The better option
is to break up the moment and tell it in two or three pieces.

In film, a lot of the time less is more. This notion applies very
obviously to shooting films without a lot of dialogue, yet this is one
area where many filmmakers go very wrong.
Inexperienced directors will often feel like they need to build up a
certain moment and overcompensate for the fact that it has no
dialogue by over-covering the scene. They will get a dozen angles
that they dont really need and actually prevent the viewer from
focusing on some of the important visual cues in the scene.

By planting seeds for the audience and leaving breadcrumbs, your

viewers will be led to their own conclusions about your story and
characters and that will give your film a deeper meaning to them.
In the example above, if you were to show a few moments leading up
to the character starting to drink again (lets say, having wine spilled
on them, watching their boss drink in front of them, etc.), you are
able to nudge the audience to the conclusion you want them to draw
without being too forceful.

3. Find Symbolism.
Every shot that you show in your film needs to be important and
relevant to your story or characters or both. While it may be
relatively simple and straightforward to direct a dialogue-free scene
thats simply progressing the story, its more difficult to execute well
on the character level. In order to really tap into something
emotionally powerful, your visuals need to have symbolic and
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5. Show More Character

When in doubt, always focus on your character development when
working with nonverbal material. The most interesting and dynamic
character information can be portrayed best in scenes without
dialogue, so always take advantage of this fact.
Ask yourself what you can show your audience in this dialogue-free
scene, moment, or film that you wouldnt otherwise be able to in a
scene with other characters. Maybe you choose to show your main
character alone and give insight into who they are behind closed
doors. Whatever choice you make will work, as long as its centered
around conveying character detail in an interesting and visually
motivated way.

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SECTION 2

Tips for Being an Awesome Production Coordinator

To succeed as a production coordinator, you need the patience of a director, the organizational skills of an assistant director, and the knowledge of a
producer. No problem, right?
Thriving under pressure, being able to multitask, and playing well
with others are just a few of the necessary skills you need to
succeed as a production coordinator.

think youre up for the challenge (or already work in this demanding
position), these tips will make your life easier both on the set and off.

Its a demanding job and certainly not a perfect fit for everyone. But
for those that work well in this type of environment and are heavily
self-motivated, working as a production coordinator can be an
excellent career move.

Communication and the ability to take charge and lead are the most
critical qualities for you to have as a PC. Throughout every phase of
the filmmaking process (and especially during pre-production and
production), you are the point of contact for most of the crew - and
that is a massive responsibility to have.

1. Communicate Impeccably and Lead Your Team

Its the natural progression away from PA-ing and into AD-ing, and
eventually into producing. If youre considering a career move and
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the production thousands of dollars in overtime or reshooting

expenses.
There are an infinite amount of issues that could arise as a result of
poor organizational skills, so always be sure to stay detail oriented
and triple check everything you do before sending it out to the team
otherwise you could be out of a job.

Having likely come from a PA background, you may be accustomed

to feeling like you should simply do your job, stay quiet, and get out
of the way. This mentality needs to change drastically as you step
into this new position, as your role is now more in line with that of a
producer than it is a production assistant. And just like a great
producer communication and leadership are key.

3. Know your Role

A production team is naturally set up as a hierarchy, and its crucial
that you know exactly where you stand in the chain of command.
Although I mentioned earlier that being a production coordinator in
many ways is like being a producer, you still need to make sure those
lines arent blurred. Many production coordinators make the mistake
of overstepping their boundaries during production as they grow to
realize their importance on set.

2. Stay Organized and Stay Ahead

Your ability to organize and stay a step ahead of things is what you
were hired for above all else, so make sure to prioritize these aspects
of your job. Its often assumed that producers do most of the dirty
work on and off set, but in reality its often the production
coordinators doing a lot of the heavy lifting even if they arent
getting credit for it.

As production coordinator, you report directly to the production

manager, while also taking the lead on overseeing the production
assistants and assistant production coordinators. For those of you
that have already worked in this capacity, you understand that

The bottom line: organization is key. Even the slightest

organizational misstep can lead to disaster during production. If
youre filling out the call sheet, a single typo that places a talents call
time later than it should be could ruin an entire day on set and cost
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theres a lot of juggling involved to do this well, and you are often
required to wear many hats.

This can sound like a difficult position to fill, and truthfully it is a big
challenge for many. But if youre willing to stick with it and make
yourself a productive member of the team, things start getting easier
very quickly.

There are times when you need to take on roles that are outside of
your usual production coordinator responsibilities, and that is
perfectly okay as long as you are being guided to do so. In other
words, if you need to handle something that the production manager
is passing off to you, thats great just dont overstep your
boundaries and do it before its asked of you or it will reflect very
poorly on your set etiquette.

Final Thoughts

Not everyone is cut out for the role of production coordinator. It is a

demanding, high-pressure job that requires a very particular set of
skills, namely the ability to execute tasks with just the right balance
of patience and tenacity. Over and above a concrete knowledge of
film production from A to Z, you must be a great communicator and
leader, remain ahead of schedule and completely organized at all
times, and understand the boundaries of the role in which you work.
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SECTION 3

Honing Your Craft: Find Your Voice as a Director

A big issue that plagues some indie filmmakers is their lack of identity. Many independent films can end up feeling like a parody of someone elses work,
ultimately leading them to be flops both commercially and critically.
If you watch enough movies, you should be able to tell the work of
Aronofsky from Spielberg simply based on their directorial style and
the trademarks that they leave on each scene.

While it might take a long time to get where you want to go

creatively, in this section well explore three powerful steps you can
take to find your voice as a director.

These are filmmakers that spent decades honing their craft and
understanding what they wanted to say and how they wanted to say
it. They found their voices long ago, and ultimately their work has
become extremely identifiable as a result. If you (as a director) want
to get the most out of yourself creatively, one of the most important
things you can do is develop your directing style so that your work
can speak for itself.

1. Watch More Movies

One of the biggest red flags of a director that hasnt found their own
voice is when their taste in movies is all over the place. Dont
misunderstand wrong theres nothing wrong with binge watching
movies across every genre; You can learn something from any movie
no matter how far off from your own taste it may be.

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Nonetheless, if you simply like watching movies, but arent

particularly drawn to one genre, director, or style then that may be
the first sign that you havent found your vision or style as an artist.

as your strength may be as a writer. But the fact of the matter is you
arent doing yourself any favors as a director by resting on your
laurels as a writer.

If this sounds like you, watch loads of movies (one or two a day) for
as long as you can. Completely saturate yourself in films. After a
short while, some of them will get stuck with you. There will be those
films that nag at you, that you want to go back and watch, or that
inspire you to make something yourself.

If you really want to develop your directorial style, trying shooting a

test scene or a short film with little to no dialogue at all. When you
go back to your heavily scripted material, your work will improve
dramatically.
Imagine a musician that isnt very good at playing guitar, but can
write great songs. This person would always be held back by the fact
that they cant express their art form to the fullest, much in the same
way that a director is held back when they dont know how to direct
with images.

Chances are, whatever films are drawing you back to them will be in
a similar genre or will deal with similar subject matter and that may
very well be the first step in identifying the films that you are best
suited to direct and that you really want to make.

Just remember, filmmaking is a visual medium. And as the adage

goes show, dont tell. Its in the subtleties of camera movement,
framing, and other visual choices that your directing style will really
come out. Be sure to embrace that as much as you can.

2. Understand How to Tell a Story With No Dialogue

Everyone wants to be the next Tarantino or Sorkin. A lot of indie
films these days are busting at the seams with heavy dialogue, yet
there is often no substance to what is on the screen. There is no
distinct style in the way the dialogue is being delivered.

3. Tap Into Your Music Taste

There are a lot of similarities between film and music. Its no
coincidence that the type of music that filmmakers love is often in
the same vein as the films they create. Take Tarantino for instance. It

While you might be more inclined to direct heavily dialogue-driven

films, you need to challenge yourself to tell stories without dialogue
if you want to maximize your talent. This may seem counterintuitive,
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would be hard to deny that his musical influence isnt obviously put
front and center in so many of his films. As a result, the tone of his
movies is largely centered around his taste in music.
The Tarantino example might be the most obvious, but the same
could be said for nearly any auteur that has really found their voice.
Its why Spielberg has worked with John Williams for so long and
why Fincher has stayed with Trent Reznor and Atticus Ross.
A big part of developing your style as a director is understanding
your taste in music. After all, 50% (or more) of the viewing
experience is dependent on the audio. Music guides the viewers
emotional experience.
And by the way... if you arent a big music fan, that doesnt mean you
cant find your voice. Perhaps your style is simply best served with
sound design or natural backgrounds. Whatever the case may be,
understand yourself on a creative level (musically speaking) as it is
very much related to who you are as a storyteller.

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SECTION 4

Tips You Must Know Before Shooting a Multicam Production

Multicam productions have become more popular than ever, thanks to the extremely low cost of camera gear and easy integration into video editing
apps. Even still, many producers attempting multicam for the first time arent able to get it right.
While the thought of setting up a multicam shoot can be daunting to
producers and directors who have never done it before, knowing
how to do it right has some massive benefits. Not only do multicam
setups help keep costly time on set to a minimum, they can also
provide creative freedoms that arent otherwise offered by single
camera environments.

catch all of the spontaneity, while also having enough coverage to

cut together the scene cohesively in post.
Whether youre interested in shooting multicam as a means to keep
your budget down, to give you actors more freedom, or you simply
have no other choice, lets go over a few considerations for getting
started with multicam shooting.

For instance, if you are directing a comedy and want to allow your
actors to improvise, a multicam setup would be ideal so that you can

Camera Placement
The very first thing you need to address with your multicam set up is
the placement of your cameras themselves.
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If you want to achieve professional level results with your shoot, you
need to make sure that you are optimizing your coverage. In other
words, if you are shooting a scene with two actors and you have
three cameras on them, you probably want a close up on each actor,
and then a wide/medium master shot. Obviously you can get
creative with your multicam setups... just make sure youre never
doubling up on coverage, regardless of the creative choices that are
made.

lighting but in the end it will completely balance out, as youll save
loads of time once you start rolling.

Matching The Cameras

The problem of mismatched cameras is one of the most common
issues on multicam setups, particularly on low budget indie films.
In many instances, small productions dont want to rent two or three
identical cameras, so they mix and match various cameras that they
have access to in order to supplement their multicamera setup.

Lighting
The manner in which you approach your lighting setup also needs to
change drastically from what you may be used to in single camera
situations.

Mixing cameras can lead to serious problems. In an ideal world, you

want every camera to be the exact make and model, or at the very
least the same brand. For example a Canon 5D MK II and a Canon 7D
will match a lot better than a 7D and a Lumix GH4, since Canon and
Lumix use completely different firmware and color science.

When shooting with one camera, your setup naturally only matters
for the particular angle and take that you are executing. When you
go in for coverage you can make small adjustments to your lights
(such as walking in a key or fill) as needed. Everything changes with
multicamera lighting.

Even if you are shooting on identical cameras, you still need to be

extremely diligent when it comes to your settings (camera profiles,
shutter angle, and white balance). Any slight difference in your
camera settings can cause some big headaches in post.

The easiest way to get the look that youre after while maintaining
visual consistency is by setting up your lights much in the same way
that a stage play or a sitcom is set up. To clarify were not
suggesting that you make creative choices that will make your final
product look like a play or sitcom, but rather that you make rigging
and logistical choices in that same way.

Final Thoughts
Shooting multicam isnt right for every project, but when time is of
the essence and budgets are low, it can be a fantastic way to save
money and allow you to move quickly without sacrificing quality.
In order to do it right, you need to place your cameras strategically,
have a rock-solid lighting setup, and make sure that you are using
cameras that match as closely as possible.

For example, lighting from above (by rigging lights to a ceiling or grid)
would be hugely preferable over lighting using traditional stands.
The reason of course being that when rigged to the ceiling, the lights
are completely out of the way and you can shoot in nearly any
direction that you want. Lighting your set this way will inevitably
take more time up front so be prepared for some extra time pre-

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SECTION 5

How to Shoot Dynamic Video Interviews

Take your video interviews to the next level with these fifteen tips.

Shooting an interview can be one of the most challenging aspects of

the filmmaking process. As video producers and filmmakers, weve
grown accustomed to controlling every aspect of the filmmaking
process, but an interview setting contains a lot of uncontrollable
variables that make it somewhat unnatural to shoot.

1. Research and Preparation

Good research is the key to getting a great interview. Anticipate
what direction youd like the interview to go do research on your
interviewee and be well-versed on the interviews subject matter.
Through your research youll learn what you dont know. Surprise
responses may be the interview gold you need to make the story
compelling and unique. What has the on-screen talent said in the
past about the subject? What have they not said?

If youve ever wanted to take your interview skills to the next level
check out the following tips for shooting dynamic interviews.

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Similarly, you should find that asking open-ended questions will elicit
better, more interesting responses.

6. Pick a Style
You need to define a creative style for your production before you
can pick the right equipment and questions for your interview. Will
the interviews be flatly lit or have dramatic lighting? Will the
interviewer be seen on camera as well?

2. Outline
While there is definitely an uncontrollable element to every
interview, its important to have a solid outline for what you need
cover. It doesnt need to be complex, just enough to help you get an
idea for how you want the story to progress.

Whether youre emulating a style youve seen or coming up with

your own style formula, you need to make sure that the look is
clearly defined and communicated to the rest of the crew before the
camera rolls.

One interview tactic is to start the questioning with safe and easy
questions. This will make the interviewee more at ease and create a
safe interviewing environment. Wait to ask the hard questions
once the interview cadence and atmosphere has been set.

7. Use a Professional Sound Recordist

Bad sound is a quick way to lose the attention of your audience.
Have a person on your crew who is solely responsible for recording
and monitoring on-set audio. The audio is arguably more important
than the video in an interview setting

3. Location Scout
As with any film shoot, location scouting is critical. Yes, this means
physically going to the location ahead of the shoot date. What type
of lighting does the environment provide? Is there electrical power?
Is there any ambient noise? What other problems can you
anticipate? You dont want to have any surprises on the shoot day.

8. Questions
Just as you should have at least a rough outline of how youd like the
interview to proceed, you should also come up with a list of possible
interview questions.

4. Pack Extra Batteries and Memory Cards

Theres no way to know exactly how long an interview may run. You
dont want the limitations of your batteries or memory to cut an
interview shoot short, so make sure you pack plenty of both.

Although many producers/filmmakers choose to share interview

questions with the talent ahead of the shoot, we warn against it. If
the interviewee has the exact questions before the shoot, theyll
likely pre-formulate their responses. This can quickly make an
interview feel uninspired and boring. Instead, just send over a broad
list of topics youd like to discuss.

5. Communicate With Your Talent Before the Shoot

Communicating with your talent before the day of the shoot is a
great way to minimize surprises on shoot day. You dont want to
show up on set the day of the shoot only to find that your talent has
worn a bright green striped shirt. Its for this reason that I always
send my talent a checklist with what to expect, clothing
considerations, and contact information.

Youll likely want to record the interviewers questions as well, even if

they wont make the final cut. This is useful for the editor who can
use this audio to know what each question is about. Its also a good
idea to mic up the interviewer. If this isnt possible, having the sound

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of the questions recorded to the on-camera mic is better than

nothing.

If you would like the subject to look into the camera, there are
several products that will superimpose the interviewers face over
the lens. These devices are designed to work like a prompter and can
make the interview conversation more natural. One of the more
popular models is the Eyedirect.

9. Repeat the Question in the Answer

Try to have your talent repeat the question in their response. For
example if you ask, What is your favorite color? and their response
is green, it doesnt give the editor much to work with.

12. Multicam

A better response would be My favorite color is green. Then the

editor has a complete thought, which makes the story easier to craft.

10. Control the Pace

Thinking of your interview as a conversation is a great way to make
your subject at ease, but there are definitely some dissimilarities
between an interview conversation and a normal conversation.

If you can, shoot with more than one camera. Having at least two
cameras will make editing much easier. For example, if your subject
has to pause a sentence to sneeze, you can cut the sneeze out by
switching to the other camera at the edit point. Shooting multicam
will also protect you if one of your cameras fails.

First and foremost, in a normal conversation humans tend to talk

over one another. While this may work for normal conversations, it is
incredibly difficult to edit an interview if the host is talking over the
subject.
Its also important to control the pace of the interview, as subjects
tend to rush their answers when being filmed. Control the pace by
setting the pace. Talk in a calm and slow voice and your subject will
be more likely to mirror you.

13. Dont Stop Recording

Its best to keep the cameras rolling to catch any candid comments
that might be useful in the final edit, even after the interview is over.
At the very least, it gives you a little pre/post roll so you can more
easily edit.

11. Decide on Eyeline

Will the subject being looking at the interviewer or the camera?
Make this a conscious choice and relay it to the interviewee before
shooting. It can be very distracting to have the subjects eyeline
change throughout the interview. If you want the subject to look at
the person asking the question, it is important for the interviewer to
maintain eye contact throughout. This will force the interviewee to
keep this connection.

14. Interview B-Roll and Nat Sound

Its always a good idea to record quick b-roll type shots of your
interviewee, in case you need them to cover up edit points. If you are
only working with one or two cameras, you can capture this footage
at the start or end of the interview. Typical pick-up shots include

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asking the interviewee to nod on camera (good reaction type shots),

as well as getting close-ups on hands.
Be sure to grab a minute or two of the natural sound of the room
before shooting (without anyone talking). This is important for
covering up edit points. Record the natural sound again if the sound
in the room changes throughout the interview.

15. Communicate with the Interviewee

Dont simply start picking up and saying goodbye at the end of your
interview. Communicate what your are planning to do with the
interview footage and when they can expect to see the final video.
Ive even heard of some people watching the interview with the
guest after the interview is complete. Its a good way to find out if all
of the questions get answered.

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SECTION 6

Three Reasons You May Want to Forget About Film School

Film school is a controversial topic amongst filmmakers. While some of the best filmmakers are formally trained, others skipped film school and got their
education on set. It could be argued that film school simply isnt the best option for creatively minded individuals.
From a very young age, the importance of receiving a formal postsecondary education is ingrained in us. Were told that by going to
school and specializing in something, were going to land better jobs
and make more money. Unfortunately, this type of advice is often
coming from people who arent even remotely in touch with the
entertainment industry. They dont necessarily understand the
benefits of choosing a different path.

filmmakers didnt attend film school or dropped out to get a head

start in the industry by working from a very young age. Count James
Cameron and Christopher Nolan as two of the greats that never sat
in a film school class.
That said, there are some personality types that benefit from a more
structured creative environment and who are best served by going
to film school. It could be argued that they are the exception, not the
rule. A lot of creatively minded people learn best on their own terms

With filmmaking, your level of formal education may have no

bearing on your level of success. In fact, some of the most successful

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 by actually getting their hands dirty and learning the ropes in a real
world environment.

in their first working year after graduating film school as a result of

the false confidence they developed in themselves.

Probably the biggest benefit of going to film school is the fact that
you are able to meet peers who may later be collaborators. Outside
of that, anything you can learn in film school can be learned on a film
set (and then some).

This isnt always going to be the case, but its a fairly common issue
for filmmakers who want to try their hand at climbing the ladder on
large-scale productions.

2. On-set Experience Is Far More Valuable Than

Classroom Training

Even if youre volunteering on a film set, youre a heck of a lot better

off financially than you would be if you were spending thousands of
dollars in tuition fees. The reality is that film school will not get you a
job networking will. If you want to reap the benefits of film school
as a means to network, then certainly go for it.

Some film programs offer some really great in-class training with
regards to directing, cinematography, editing, and other aspects of
the craft. That said, no matter how good the training may be in any
given school, it will likely never come close to the training you will
pick up on a real film set.

But if youre on the fence about film school in general, be sure to

read through these three reasons why film school may not be the
right path for you.

There are so many intangible skills you can learn on a real set
(including how to deal with people and how to handle problem
situations) that you simply wont be exposed to in a controlled
environment.

1. Film School Can Give You a False Sense of Confidence

In film school, you can truly be led to feel that you can do no wrong.
This obviously differs from school to school and is largely dependent
on your instructors. But for the most part, recent grads often have a
hard time adjusting to the real world of filmmaking based on
confidence alone. While in film school, youre going to be writing/
directing your own projects all the time, and although this may
sound great, it doesnt represent what real life is going to be like.

Dont think that just because film schools might simulate film sets for
you that it comes close to the real thing. It doesnt. One way or
another, youre going to need to learn by doing and by making
mistakes on a real set.
Its up to you whether or not you jump in with both feet right away or
give yourself the buffer of film school before playing in the big
leagues.

The real trouble with film school is that the people teaching are so far out
of the industry that they dont give the students an idea of whats
happening. - Brian De Palma, Director of Scarface

3. You Can Spend That Money Making a Movie

Many film directors (Quentin Tarantino included) have stated that
theres something to be said about skipping out on film school and
using that money to make a film.

Its a harsh reality check when you go from directing your own work
consistently to becoming a PA on a large set, where your opinion is
not typically welcomed. A lot of filmmakers have a really tough time

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When people ask me if I went to film school I tell them, no, I went to films.
Tarantino
Its not uncommon for a film school to cost more than $20,000 per
year, plus the cost of room and board if youre living out of town.
Assuming you are in a three to four year program, you may be talking
about $50 to $100k in overall cost, which may just land you a PA job
at the end of the process. Imagine what would be possible if you
were able to spend that money on a film instead. In a far shorter
amount of time, you would be able to learn by doing and end up
with a finished product which can be used as an asset for your
career.
There is no substitute for making your own movie as a means to
develop your craft. When you do it in the real world, as opposed to
within the comfortable confines of a film school, you might just be
able to do it a whole lot better.

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SECTION 7

How to Adapt Your Feature Idea Into a Short Film

Filmmakers are often faced with the challenge of reworking a feature film screenplay into a short film. Heres the best way to go about it.
One of the most common approaches to feature film development
today involves writing a feature length screenplay and then
shooting a short film based around it. The idea behind this approach
is that the short film will act as a proof of concept and essentially
show potential collaborators what the director/producer team is
able to do stylistically, even on a small scale.

forms, and an idea that works well as a feature doesnt always work
as well as a short film Or vice versa.

1. Tell a Small Story Within the Greater Story

The optimal length for most short films is 10 minutes, which means
you have very little time to tell a complex story or explore a lot of
character detail. The number one mistake that filmmakers make
when it comes to adapting their material, is trying to cram way too
much information into a ten minute short. Having just developed a
feature length screenplay idea, many filmmakers feel very close to
their material and its hard for them to leave out important

Although many filmmakers seem to understand the importance of

adapting their feature-length material into a short, many of them
arent able to actually execute in an effective way. The reason being
that features and shorts are in some ways completely different art
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moments, characters, or ideas from the short version of their story.

But the reality is you need to lose 90% of your feature in order to
make an effective short.

context of a proof of concept), and can benefit your overall process

immensely. Chances are, if youre chatting with development
executives, producers, talent, or anyone else that you might want to
involve on your film, above all else they want to understand your
style and abilities.

Rather than thinking of how you can trim down your 110 page script
into 10 pages, think about one of the small stories that you can tell
within the larger story at play. Maybe you want to tackle the catalyst
moment from the first act, or show the first time that two characters
meet. You might even want to shoot a short prequel that would take
place before the first scene of the film. As long as the slice of the
story that you are telling can be executed in ten pages or less, youre
headed in the right direction. But the second that it feels like you are
forcing a bigger story onto the page, its time to rethink your idea.

Story is always important but they will probably already know the
feature-length story you want to tell to an extent, and may have
already read your screenplay. The short film gives you an
opportunity to really show them what youre made of and let them
start to visualize how your script will translate to the screen.

4. Be Careful About Adapting a Single Scene

The most common solution that filmmakers come to when adapting
feature length material is shooting a single scene from their film.
Rather than creating a short film that can stand on its own,
filmmakers will often pick one of their favorite scenes from the
screenplay and just go out and shoot it.

2. Focus on Character.
Although you might not be able to explore the extent of your feature
idea in a short, you can explore your characters very deeply.
Characterization and character in general can be conveyed far more
quickly and effectively than plot through the use of powerful
imagery and short concise visual scenes. You should be taking
advantage of that when making any short film (but especially one
based around a feature), because you are trying to show potential
investors, collaborators, actors, etc. what the characters are made of.

The truth is that any scene is part of a greater sequence, and that
sequence is part of an act which has its own arc, and is part of the
greater story as a whole. For that reason, most scenes dont have a
concrete beginning, middle, and end to them in the same way that a
sequence or act would in a film, and therefore dont translate that
well as is to the short format. They might be fun to shoot and a good
experience for your actors, but the goal of really representing your
film as a whole can get lost when going down this path.

So rather than focusing too heavily on plot, ask yourself what short
film you can make that will give insight into who the lead character of
your story is on a fundamental level, and everything else will fall into
place.

Final Thoughts

3. Show Off Your Style

Short films are challenging enough to create as it is, but the process
is even more arduous when youre adapting feature material. Almost
every filmmaker at one point or another falls into the trap of
attempting to tell a story that is way too big for a short format. The

One of the best opportunities that you have as a filmmaker is your

ability to show off your personal and artistic style in a short film. In
many cases, this is far more important than plot (at least in the

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end result always suffers from excessive dialogue and exposition,

unfocused scenes, and a general lack of style and tone.
Shorts should never be thought of as an abbreviated version of their
feature counterparts, but rather as supplementary material to them.
You want to be able to approach collaborators with your feature
script and a short film that gives a glimpse into the style, character,
and tone of the project. But at the same time, you dont want to
overwhelm the viewer with so much information that it turns them
off of your project entirely.

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SECTION 8

Tips for Shooting in Low Light

Check out these tips for getting great low light shots.
As any filmmaker or video pro will tell you, shooting in low light can
can wreak havoc on the image quality of your shots. But rest
assured, you dont have to own a RED EPIC to get great low-light
footage. Follow these tips the next time you have to shoot in low
light.

are increasingly capable of shooting at high ISO numbers with

relatively low noise. With modern software you can minimize the
grain associated with high ISO as well.

2. Use a Faster Lens

By far the best thing you can do to get better images in low light is to
get a faster lens. This means getting a lens with a wider aperture.
While faster lenses are generally more expensive than their slower
counterparts, you can still buy fast lenses for a very low cost. For
example, you can get a brand new 50mm f/1.8 Canon lens for
around $100 on Amazon. I also recommend adapting vintage lenses

1. Increase Your ISO

You may have heard that shooting in a high ISO is bad. This is true,
but only up to a certain point. Yes, shooting in an ISO so high that
the image becomes unusable is bad, but depending on your camera,
you may be able to push your ISO with good results. Newer cameras
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to work with your modern camera. I was able to find a fully

functional 50mm f/1.4 Olympus OM lens for $70 on eBay.

built-in noise reduction technology that can help you take grain out
of your footage.

3. Use a Tripod and Slow Down Your Shutter Speed

6. Bonus: Buy an a7S Camera

If you plan on shooting a lot of low-light footage, the Sony a7S or a7S
II is leading the pack in low-light capabilities. With ISO capabilities of
over half a million, you can shoot in virtually complete darkness.
Whats even more astonishing is the lack of noise.

Youll be able to lower your shutter speed to allow more light by

shooting on a tripod. For example, if youre shooting in 24fps you are
likely shooting at a shutter speed of 50. By shifting your shutter
speed to 24, you would essentially double the amount of incoming
light but camera shake would normally make it too shaky to use.
Using a tripod can make camera shake nonexistent, making it
possible to shoot at longer shutter speeds.

4. Shoot in 24fps
Try to shoot in 24fps if possible. In slowing down your frames per
second, you will increase the amount of light captured in each frame.
The difference may not be incredible, but a simple jump from 30fps
to 24fps will increase incoming light by 20%.

5. Shoot in RAW
Shooting in RAW doesnt make your image look any brighter incamera, but it will make brightening up your image in post a lot
easier. RAW images allow for more versatility when editing than
compressed images. Even more, Adobes Canon RAW editor has

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SECTION 9

Nine Tips for Stabilizing Handheld Footage

Sometimes you just cant shoot on a tripod.

Heading to the set or into the field without a tripod? Getting
beautiful handheld shots can be a difficult challenge the recent
influx of camera stabilizers and Steadicam equipment is a testament
to that. Thinking out your approach to handheld shooting and taking
several of the approaches listed below can significantly minimize
camera shake.

simply holding one hand around another. Adding the extra hand will
essential take your camera from being on a monopod to a bipod.

2. Keep the Camera Close

Holding the camera away from your body will severely increase
camera shake. Most people make the mistake of holding the camera
like they would if they were taking pictures, near their eyes. But for
shooting video you want to hold the camera near your chin and
close to your body. By resting your elbows on your chest and
holding your arms parallel with your body, you can create a cocoon
that will make your footage more steady. This technique is certainly

1. Use Two Hands

One of the easiest ways to minimize shaky footage is to use two
hands instead of one. Even if your camera is too small to be held by
two hands, find a way to use both. This can be holding your wrist or
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dependent on where your display screen is relative to your face, but

for most DSLRs this should work perfectly.

7. Use a Wider Lens

It might seem like common sense, but try using a wider lens when
shooting handheld. While telephoto lenses might offer a shallow
depth of field, they are incredibly difficult to keep steady, even with
an image stabilizer. If you must have a telephoto shot, I recommend
standing completely still and not moving at all.

3. Use a Wall
Leaning on a wall is a great way to keep your footage steady. By
simply putting your weight on a wall, you can create a sort of tripod
between your two legs and the wall.

8. Minimize Focusing

4. Bend Your Knees and Float

Adjusting focus is one of the biggest culprits of shaky footage.

Because you have to bring your hand to the front of the camera,
focusing completely negates any effort youre making to stabilize
your footage. Try keeping your focusing to a minimum. In most cases,
moving your body is much steadier than moving your focus.

When moving with your camera, the best way to minimize vertical
shift due to walking is to think of your camera as a cup instead of a
camera.
If you apply the same physics of a full cup to your handheld camera,
youll quickly find the camera shakes much less. Remember to relax!

9. Fix It in Post
Its always better to shoot the footage right on location instead of
fixing it in post. If you cant, the warp stabilizers built into After
Effects and Premiere Pro make it extremely easy to stabilize shaky
footage. Of course, mileage may vary depending on the shot.

5. Keep Movements Simple

While handheld footage does give you the freedom to preform
elaborate camera moves, these moves can make your footage
incredibly shaky. Its much more advisable to keep your camera
moves simple. Unless the shot calls for it, you may get a better result
by keeping your camera stationary.

6. Move Your Axis

When panning and titling, try pretending that your camera is
rotating around an axis in front of the camera. This will help you
avoid the foot shuffling that occurs when you simply rotate in place.
In moving your axis, youll quickly find more natural and fluid
movements. Think of your movements as being arcs rather than
pivots.

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SECTION 10

Easily Forgotten Things to Check Before Hitting Record

Run through this checklist before you shoot.

Whether youre shooting a corporate video or a feature film, there
will always be a million things to consider before hitting record.
Between actors, crew members, and producers, you can easily
forget a vital camera setting in the chaos of it all. So before your
next big shoot, here are five things you need to keep in mind.

ensure you have enough record media to shoot on (cards, drives,

etc).
If youre not doing all the production and post work yourself, be sure
to have a conversation with the team about file type before
shooting. Often the video editor will prefer one file type over
another.

1. File Type
Picking the right file type essentially comes down to two factors:
size and quality. If you want the best quality possible, then you want
to shoot in the most uncompressed format possible. Unfortunately,
with increased quality comes increased file size so youll need to

It should also be noted that some cameras dont remember the file
format you shot on last. So if you use a new card or replace a
battery, you need to go into your settings to make sure nothing has
changed.

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in post. Save yourself the headache and check your white balance
every time the lighting changes.

2. Picture Profile
A picture profile is the way in which your camera will record the
colors of your image. While your image may pop if youre recording
in a high-saturation profile like portrait or landscape, it is generally
advised that you shoot flat in-camera. Shooting flat means an
unsharpened, undersaturated, and less-contrasted modification of
the standard picture profile allowing for more versatility when
manipulating the video image in post. When shooting in a
compressed format, its even more difficult to manipulate the image
in post, so you better make sure youre recording in the color profile
you want.

5. Formatting
Each time you put a new card into your camera, it needs to be
formatted. Most cameras can do this in-camera. If you shoot on large
cards, it can be easy to forget to format before beginning a shoot
but not doing so can mean you have multiple shoots or projects on
the same card, which can be a real mess in post.
Create a solid system for shooting/importing/formatting. Perhaps
you format your cards immediately after you import them or right
before you shoot on them again. Whatever your preference, stick to
it to minimize confusion.

3. Specks on the Lens

Now a clean lens may seem like a no brainer, but how often do you
actually clean your lens on set? It can be extremely easy for a small
speck to land on the lens during production and go unnoticed. If
youre using a small display screen, a speck in your shot might not be
seen until youre in the editing bay and by that time, its not an easy
fix. Make sure you are regularly cleaning your lens on set with a
microfiber cloth or lens brush to avoid this problem.

4. White Balance
White balance can be easily adjusted in post if youre shooting in
RAW. However, if youre shooting in a compressed format, you cant
change the white balance as easily. Make sure your white balance is
correct for your scene. If you dont white balance correctly, you can
end up with inconsistent coloring.
The worst thing you could possibly do is set your white balance to
auto. On most cameras auto tells the camera that it can change the
color cast during recording meaning your image can go from blue
to orange in the same shot. This will make it even more difficult to fix

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SECTION 11

Tips for Shooting Video on a White Seamless

Recreate the iconic look of the popular Apple product videos with these nine tips!
Shooting on a seamless white background is an incredibly popular
way to draw attention to your subject while minimizing distractions.
There are a number of different steps you can take to get this look.
Here are nine of them!

Paper is much easier to keep wrinkle-free and it can be easily rolled

back up and stored.

2. Light Your Subject and Background Separately

If you want to get a 100% seamless white background you need to
think of your lighting in two different stages: the background and
the subject. By separating the lights used on your subject and your
background, you can minimize shadows and hotspots in your image.
Obviously this requires you to use (at least) two separate lights to
light your scene, but the added control is well worth it.

1. Use Paper Instead of Canvas

A common mistake among new photographers and videographers is
to use a cloth canvas when trying to get the seamless look.
Unfortunately, cloth tends to crease up and it can be very difficult to
get all the wrinkles out. Instead, try using a paper backdrop instead.

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3. Distance Your Subject From the Backdrop

8. Use a Production Monitor With Exposure Peaking

By separating the distance between your subject and your

background, you make it easier to minimize falloff from different
light sources. If you think about it, the background works like a giant
white reflector. The more space you put between your subject and
the backdrop, the less light is going to bounce off that reflector and
hit your subject. Having a great distance between your subject and
the background also minimizes your risk of having shadows hit your
backdrop.

A production monitor is a worthwhile investment, as they can

accurately tell you if your background is consistently lit. Recording
tools such as the Ninja Atmos also have exposure peaking and focus
peaking built in.

9. Use Diffused Light on Your Subject

To get the Apple look, youll want your subject softly lit. This will
mean using at least three lights... one for your background and two
for your subject.

4. Use a Light Meter for the Background

When working with with a seamless backdrop, a light meter can
really come in handy. One trick is to properly expose the background
then move your aperture 1.5 stops higher to make it blown out.
Overexpose it and you run the risk of creating white feather edges
around your subject.

6. Use the Histogram and Your Eyes

Histograms may be a quick useful tool, but there is no alternative to
simply using your eyes to judge the scene. A histogram cant tell you
if your scene is evenly lit.

7. Flag Your Lights

Spill suppression is incredibly important when working with a
seamless background. You dont want the light hitting your subject
to hit your background and vice versa. This is where flags come into
play.
By flagging light, you can control the direction of a light, which gives
you much more control over the scene. If youre short on
professional flagging equipment, a few clamps, a light stand, and
some white poster board will do the trick. Flagging light away from
your lens is also a great way to prevent any unwanted lens flares.
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SECTION 12

Tips for Shooting a Period Piece on a Shoestring Budget

Period pieces are usually out of reach for low-budget filmmakers, but these five tips will open up the possibility of setting your story in a different era.
Its tempting for many filmmakers to write scripts that take place in
a completely different time period. After all, period pieces open up
so many possibilities for telling new stories that just wouldnt be
relevant or possible when set in modern times. Unfortunately, many
of these same filmmakers are hit with a big wake-up call when it
comes time to actually produce their film, as they realize just how
expensive its going to be.

production as well. During pre-production for example, you (and

probably your art director/production designer) will need to
thoroughly research the time period in which your film is set in so
that you can portray it accurately.
Even in post-production, things can get tricky. Depending on how
good or bad your locations, you may need to do set extensions or
other VFX work to help sell the setting that youre trying to
emulate. Not to mention, more extensive and specific color
correction is often required to really help craft the feel of your
world.

When youre crafting a period piece, everything is more expensive.

Not only do your hard costs skyrocket (wardrobe, locations, set dec,
etc.), but a lot more time and effort is needed in other areas of the

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With all that said, there are ways to make great period pieces even
when dealing with limited budgets. Your options certainly wont be
as extensive as they would be if you were working with Hollywoodlevel funds, but that doesnt mean its not doable.

If you team up with the right stylist, they might just be able to work
some miracles for you. Typically stylists have relationships with
brands and can pull some really amazing options for you, usually at
no cost (since the items are loaned). Rather than spending your
wardrobe budget on actual items, invest in a good stylist and it can
pay off big time.

If youre willing to take into account the five tips outlined below, you
might just be on your way to making your next period piece.

3. Props Are Everything

1. Choose Simple Locations

Without some key props, you wont be able to create a realistic

world to set your film in. The good news is that you dont necessarily
need a lot of props, but just a few key props that can become focal
points. For example, if you have the budget to rent a vintage car for a
couple of days and can use it to capture all of your driving scenes,
your production value just went up immensely. Much like the
wardrobe solution above, you dont always need to spend an arm and
a leg on props. The car example might be somewhat costly, but many
other vintage props can be bought or rented for very little if youre
willing to do some digging around.

The look of your film will ultimately be determined by the locations

that you choose. If you choose the right locations, your work is going
to be a lot easier both on set and off. However, if you make less than
desirable choices, you might not be able to pull off the look youre
going for and the entire project could fall short.
My rule of thumb with locations on low-budget period pieces is to
always go simple. If youre shooting an exterior shot at the beach, on
a farm, or in the forest, chances are there isnt a whole lot of set dec
that will need to be done. The same can be said about a vintage home
or train station (that hasnt been restored).

4. The Right Music Is Critical

Your locations, wardrobe, and props will get you most of the way
there when it comes to production, but post is really where it all
comes together.

These are just a few examples of course, but the point is that you
need to look for locations that work for you as is. Chances are you
dont have the budget (or research) behind your project to create
something from scratch, so look for locations with no discernible
giveaways of modern times and youre off to a good start.

One of the easiest, most effective, and inexpensive ways to add to

the realism of your period piece is through the use of authentic
music. By licensing some period specific music (not just for the score,
but also for background music, radios in the scene, etc.), you can
really shape the tone of your film and compliment all of the visuals.

2. Get Your Wardrobe Sponsored

Wardrobe is one of the best ways to add production value and
realism to your period piece. At the same time, it can be very costly.
Vintage wardrobe items can be really rare and hard to find and the
price can be prohibitive for many filmmakers. That said, if youre
willing to knock on some doors, you might just get it for free.

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5. Learn How to Color Grade

Color grading can be a very expensive part of your process. In many
cases, it should be left to a professional.
With that said, if you have a knack for color and are willing to do
some of the legwork yourself, you can make a huge impact on the
visual feel of your film with color alone. In the same way music will
add a layer of period-specific polish to your film, so will the color.
Whether youre doing something obvious (like black and white) or
more specific (like a 60s technicolor look), the color grade will truly
bring all of the elements of your period piece together and will
inevitably make it feel far more authentic.

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SECTION 13

Tips for Traveling Filmmakers

Sometimes working in film means hitting the road or taking a flight. Weve put together five big tips to make life easier for traveling filmmakers!
Being a filmmaker has its advantages and disadvantages. For
instance, many filmmakers have the opportunity to travel, which is a
plus. Of course, the downside to this is the fact that youhave to
pack a ton of expensive gear. With all of that that in mind, check out
this list of handy traveling tips for filmmakers.

1. Never Check Your Camera and Lenses When Flying

When flying, never trust the airport to handle your camera and
lenses.Instead, utilize the ability for carry-on and bring these pieces
of equipment along with you.
Its okay to check in tripods and other gear, just be aware that if you
use a Pelican case, its automatically going to get flagged at the
airport. Be sure to leave enough time for this inevitability. Also, its
wise to have a checklist of all your gear. A simple Excel spreadsheet
will suffice.

Also, before we get started traveling as a filmmaker isnt just flying

from state to state or country to country. No way. Travel can also
mean packing your gear into your car and heading out across the
country. Because of this, were going to cover some tips for both
flying and driving.So, buckle up. Lets get rolling.
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the local stores might not have what you need. Plan ahead and be
overly cautious. Dont count on there being a Best Buy nearby.

2. Be Sure Youre Insured

No, this isnt a plug for State Farm or AllState Insurance, but it should
be. In reality, no matter if youre traveling or just filming locally, you
need to have your gear insured.

5. Make Sure Your Documents Are in Order

While this tip is primarily for those traveling abroad, its of vital
importance to every filmmaker. Your passport is key to you
becoming a filmmaker abroad. But you also need to be fully aware of
the travel alerts and warnings of your final destination, as this may
require a little more documentation from you. This documentation
may include, but is not limited to: passport, travel visa, immunization
records, and medical information.

For insurance, you have three lines of defense. The first is

homeowners insurance. Thats right... if the equipment is yours and
you own a home, then whatever is in that home is covered. Of
course, there are loopholes in this and the insurance company will
use them.
Next is to have insurance as a small business, especially if you own a
production company but this might not work for everyone.
Your third option is to go with a company like Front Row Insurance.
Companies like this have been in the business of insuring gear for a
long time. Just beware of imitators, and reach out to fellow
filmmakers to find out who theyve used and their experiences.

3. Scout Your Location Ahead of the Travel Date

With the entire world readily available at your finger tips, its
exceptionally easy to be completely prepared for a filmmaking trip.
Use Google Maps and Google Earthto scout locations. Doing this in
advance will save loads of time when you finally get on the ground.
Also, be sure to know your environment and what you are shooting
and then plan accordingly. Understand the lay of the land before you
arrive and the distances between locations. Utilize available public
transportation instead of renting cars. Your bottom line will thank
you.

4. Bring Extra Batteries and Storage Media

Be sure to pack extra storage options and batteries. Sometimes the
closest town or village ends up being an hour away and even then
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SECTION 14

4 Tricks to Keep Track of Memory Cards on Set

Managing your memory cards can help you avoid formatting and deleting any footage prematurely. Here are four simple ways to keep track of your
memory cards.
When working on a rushed shoot, it can become difficult to keep
track of your footage. You need to know which cards have already
been used and which memory cards need to be dumped/backed up.
Keep track of your memory cards with these four easy tips.

Lock the Card

The first thing you need to do before arriving onset is to make sure
all cardsare formatted and ready to go. Make sure you format them
for the right camera as well. For example, on smaller sets with
DSLRs, SD cards and CF cards should be formatted for the camera.
If you are using a mix of cameras, make sure you format the card
again before shooting.

The lock is actually a mechanical switch thatprevents you from

overriding any footage. Remember to turn the lock off after you
have dumped your footage. You will not be able to use the card until
the lock switch is pushed back up.

If this is an available option (usually on SD cards), you can easily lock

the memory card after shooting. This is literally the easiest thing
you can do and yet many people never do.

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and drop your footage. You can download DaVinci Resolve for free
and use the clone tool to safely dump your footage.

Mark the Plastic Case

If you are using single clear card cases to manage your cards, mark
the back side of the case with an X.
Put the card in face up, and you can clearly read the size of the
memory card. After you shoot, put the card back in face down so the
X covers the face of the card. That will mark that the card has been
used.

Use a Case and Face Cards in the Same Direction

One of the easiest and most-used techniques is to use a card case for
all memory cards. Before arriving on set, put all of your cards face-up
in a case. After shooting, simply put the card back in the case, this
time face-down.
This gives an instant look at your available memory. Not only do you
know which cards you have used with a quick glance at the cards
that are still face-up, you will know exactly howmany gigs you have
left.

Put Gaff Tape on the Card

For larger memory cards that dont have locks on them, simply put a
piece of gaff tape over the connection points after you have used it.
Gaff tape is preferred because it wont leave any residue on the card.
It will easily come off, and the cards info sticker wont be damaged.
All four of these simple tricks are incredibly easy to do and will save
you so many headaches. Be sure you implement some sort of
management system and make sure everyone handling the cards
knows the protocol.
Also, be sure to use checksum verification when dumping your cards.
Always make sure everything was copied properly. Dont just drag

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SECTION 15

Cinematography Tip: Why Day for Night Is a Horrible Idea

Thinking about converting your daytime footage to nighttime footage? Think again.
Day for night is the process of making daytime footage look like it
was shot at nightby either using a filter, post-processing, or
both.While thereare some examples in modern cinema of good
day-for-night conversions, usuallyday for night will only give you
poorly colored footage that isnt very cinematic. Lets take a look at
why day for night is a bad idea and offer a few creative alternatives.

if you are underexposing your subject. This means you will need to
avoid the sky if youre trying to shoot a nighttime scene during the
day. It will be solid white, which will greatly reduce your creative
flexibility. Sure, you could tint your footage totone down the white
sky, but a real night sky doesnt work like that.
In most shooting circumstances, the sky at night will be brighter on
the horizon and very dark in the actual sky. If youre shooting day for
night, theres really nothing you can do to simulate this nighttime
occurrence other than do a lot of post-processing which will take
forever and likely look terrible. Well discuss this further below.

1. You Cant Shoot the Sky

One of the biggest differences between shooting at night and
shooting in the daytime is the sky. Shocking, right?The daytime sky
is, for the most part, almost always going to be overexposed even

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2. Shadows WillLookOff

Rotoscope various silhouetted elements to avoid awkward edges

One of the biggest problems with day-for-night conversions is the

shadows.As you probably already know, shooting in direct sunlight
during the daytime is generally a bad idea. Your subject will get some
very unflattering shadows specifically raccoon eyes. Moonlight
normally doesnt work like that. When it does, it still looks strange on
camera.

Selectively track and level distracting elements

Addthe films specific cinematic grading features
Even after you do all of this, youre still going to be hard-pressed to
make your day for night look convincing. Even the bestAfter Effects
teachers out there have a hard time making convincing day-for-night
conversions.

There will be other weird lighting occurrences that happen in the

daytime that dont occur during the night, like harsh reflections and
possible lens flares. On the flipside of this, youll also have to worry
about portions of your subject being overexposed. Youll have to
crush the whites in post in order to fix this.

Just Lightthe Scene

Who said you cant light a nighttime scene?Audiencesare very easy
to trick when it comes to lighting. Most people in the audience wont
ask where that soft fill light is coming from. Instead, theyll focus on
the content of film or videoas long as the lighting is close.

3. The Color Cast Will Look Terrible

By using a dim light and a sensitive camera, you can generally get
good cinematic footage at night even if it doesnt make a lot of sense.
A simple battery-powered LED should do the trick in these
situations.

Color is really where day-for-night conversions start to fall apart. At

its core, a day-for-night conversion is either a dark blue filter thats
put directly in front of the camera or a post-processing technique
where you give your footage a dark blue tint.
However, no matter how you do it, dark blue footage is not
whatnighttime footage looks like. There area lot of colors at night,
not just blue.

4. It Will Take a Lot of Time in Post

In light of all of the hurdles weve mentioned above,the biggest
challenge to making day-for-night footage look convincing is the
post-processing.Theres a lot of work that needs to be done to do
good day-for-night conversions. A good conversion will:
Do a blanket color grade/correction
Track and replace the sky

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SECTION 16

Learn the Lingo: 15 Weird Filmmaking Terms

From cheeseplates to dead cats, letstake a look at some strange filmmaking terms.
When it comes to filmmaking, there are a lot of strange terms.
Learning the lingo is a rite of passage that every filmmaker has to go
through. Lets take a look at some of the stranger filmmaking terms
out there and figure out what they mean.

a C-47 is one of the most-used tools on a film set. Typically they are
used to clamp filters to the barn doors of lights, but they can also be
used to hold up fabric or prank unsuspecting crew members.

C-47

Other Names: Electrician

Juicer

Other Names: CP-47, 47, Peg, Ammo, Bullet

No, a juicer isnt a kitchen appliance or muscular person. In film, a

juicer refers to an on-set electrician. A juicer is one of the most
important roles on set, as theres typically a lot of power required to
operateall of the various pieces of equipment associated with
shooting a film.

On a film set, a C-47 is simply a clothespin. The origin of why it came

to be called a C-47is somewhat fuzzy. Some say it was named after
the C-47 airplane because of its versatility. Others say they were
named after the bin in which they were stored. No matter the origin,
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Martini

Baby

Other Names: Martini Shot

Other Names: Baby Stick, Baby Legs

A Martini, or Martini Shot, is the final shot before wrapping the set
for the day. Its supposedly called the Martini shot because the next
shot would be taken out of a glass, aka post-wrap drinking. Its also
been said that in the early days of Hollywood, stars would begin
their post-wrap party a little early and start drinking martinis during
the last shot. When you hear the term martinisaid on set, it brings
about as much joy as a couple of real ones.

A baby on a film set is a small set of tripod legs. Tripod legs come in
all shapes and forms, but if you are wanting to put your camera
extremely close to the ground, youll want to go lower than what
most standard tripod legs will allow. To do this you will want to use a
baby, or small tripod legs, to get low-angle shots.

Strike
Other Names: Striking

Stinger

To strike on a film set simply means to turn on a production light or

series of lights. While it is less common in modern filmmaking, every
now and then youmight hear someone yell striking when turning
on a light. However,some argue that it is much better to simply say
mind your eyes, light coming on.

On a film set, stinger refers to a single extension cord. A stinger

refers to any size of extension cord. Typically on a film set, stingers
will be black instead of the bright orange cables found at local
hardware stores.

Legs

Cheeseplate

When a filmmaker is talking about legs, theyre typically talking

about the legs of a tripod. On most professional tripods, the head
and the legs can be easily separated. Professional tripod legs are
usually made out of carbon fiber, as they are light, tough, and good in
extreme conditions.

A cheeseplate is a metal plate with holes designed to serve as

amultipurpose utility bracket for various film related accessories.
While cheeseplates come in all shapes and sizes, they are almost
always used to create camera rigs. The holes allow the user to
mountscrew-based devices easily.

Sticks

Abby Singer

Sticks is another word for tripod on a film set. If someone were to

say grab the sticks,they would be referring to both the legs and head
of the tripod.

Abbey Singer refers to the second-to-last shot at a specific film

location. It was named after Abbey Singer, a famous production
manager who would alert his crewtwo shots before the set needed
to be collapsed.

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Typically a clapper will have a place to write the scene, take, and shot
with some other information like production title, director, and DP.

Cookie
Other Names:Cucoloris
A cookie is a device used to mask lightpatterns onto a background.
Cookies can come in all shapes and sizes, but theyrealmost always
placed on a stand separate from the actual light source. Theyre
called cookies because their hole patternslook like a chocolate chip
cookie.

Run and Gun

Run and gun is a term used to describe a style of filmmaking with
very little production equipment besides a camera. Run and gun is
typically used in documentary-style filmmaking, as filmmakers arent
always given the luxury of a controlled set. With cameras quickly
progressing in dynamic range and sensitivity, it is becoming
increasingly popular for indie filmmakers to utilize a run and gun
approach to their craft.

Dead Cat
Other Names: Wind Muff, Mic Cover
On a film set, a dead cat is a fuzzy cover that goes around the end of
a boom mic to block out wind distortion. The name fits the accessory
perfectly, as its furry exterior makes it look just like a dead cat.Rode
currently sells a Dead Wombat that is slightly larger than a
traditional dead cat.

Clapper
Other Name: Film Slate, Clapboard, Slate, Clapperboard,
Slapperboard, Time Slate, Board
A clapper is a board used for syncing and identifying a shot in post. A
clapper is most notably the most iconic accessory on any movie set.

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SECTION 17

Keeping a Long Dialogue Scene Visually

No matter how great your writing, heavy dialogue scenes can begin to feel boring. Heres how to keep things interesting on those long takes.
While shooting a one or two page scene with lots of dialogue might
be fairly straightforward, things get much more complicated when
you get into lengthier page counts.

Move the Camera

A roaming camera (whether handheld or on a steadicam) will always
hold the viewers attention better than a static shot. Just as its
important that you choose the right type of camera movement for
your scene, its also important to choose the right movement for
your audience. With long dialogue scenes, always look for ways that
you can move that camera, whether its panning back and forth
between your actors, circling your talent, etc. to keep your audience
visually stimulated.

For instance, when youre shooting a conversation between two

people sitting at the dinner table If you were to cover it in the
traditional sense (a wide and two close-ups) youd run out of steam
after a minute or two in the editing room pretty quickly, and things
will likely start to get pretty boring. However, if you can follow at
least one of the tips on this list, youll be in much better shape.

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Move Your Actors

If youre hellbent on no camera movement at all, either because it
doesnt work with the mood youre setting or its technically
impossible, then consider moving your actors instead. Say for
instance youre shooting the dinner scene as described above and its
six pages long. Why not have one of the actors get up at the two page
mark and walk to the kitchen to get something? Whether the other
character follows or not, you now have a new background and new
angles on both characters and have subsequently added more
dimension to the scene.

Cross the Line

Those of you that went to film school have had it drilled in your
heads to never cross the line (which is of course the imaginary axis
the camera sits on), but rules are made to be broken. Assuming you
dont want to use a roaming camera and want your actors to stay
static, crossing the line is a great way to completely change the
perception of a scene by simply capturing reverse coverage. If
theres a beat in your scene where the tone or pace changes,
consider using a cutaway shot to bring you across the line and then
shoot the remainder of the scene from the other side. If nothing else,
it will keep things interesting and let the viewer subtly know a
change has occurred.
And there really is no better way to understand the craft of shooting
a heavy dialogue scene than by watching great films by some of the
masters of dialogue. Filmmakers like Quentin Tarantino and Richard
Linklater are notorious for their use of dialogue, and both employ a
variety of techniques to keep the viewer stimulated. In particular, I
recommend watching Inglourious Basterds and Before Sunrise (by
each respective auteur) for some inspiration.

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SECTION 18

Film Societies: What Do Those Abbreviations Mean?

ACE, ASC, DGA. What do those letters mean? Heres a look at the most popular film societies.
Have you ever taken notice of the letters that appear after names in
movie credits? Those post-nominal letters indicate a society or
union that person is a member of. Here are the most well known film
societies and organizations, particularly those you will see listed in
opening and end credits.

The objectives and purposes of the American Cinema Editors are to

advance the art and science of the editing profession; to increase
the entertainment value of motion pictures by attaining artistic preeminence and scientific achievement in the creative art of editing;
to bring into close alliance those editors who desire to advance the
prestige and dignity of the editing profession.

American Cinema Editors A.C.E.

The organization votes members based on their professional

achievements and their commitment to editing motion pictures.
Membership requires a sponsorship by two active members, as well

American Cinema Editors(ACE)was founded in 1950 and is

officially defined as an honorary society of motion picture
editors.The society should notbe confused withtheMotion Picture
Editors Guild, the union organization underI.A.T.S.E.

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as minimum of five years of editing experience on features or

television.

The BSC instituted four objectives:

1. To promote and encourage the pursuit of the highest standards in
the craft of Motion Picture Photography.

The ACE has published theCinema Editorquarterly magazine since

1951 andcelebrates achievementwith the annual Eddie Awards.

2. To further the applications by others of the highest standards in

the craft of Motion Picture Photography and to encourage
original and outstanding work.

American Society of Cinematographers A.S.C.

The American Society of Cinematographers(ASC)was founded in
1919. The goal was to advance the art and science of
cinematography and build a collaborative environment for
cinematographers to share ideas and techniques.

3. To cooperate with all whose aims and interests are wholly or in

part related to those of the society.
4. To provide facilities for social intercourse between the members
and arrange lectures, debates and meetings calculated to further
the objects of the Society.

The organization is not a labor union or guild, but aneducational,

cultural, and professional organization.Membership is extended by
invitation, exclusive to those who have demonstrated outstanding
ability as a director of photography.

Cinematographers working both in the United States of Americaand

the United Kingdomcan be members of both the ASC and BSC, often
seen with both designations in credits.

The ASC credit first appeared in the title sequence for the 1920
western film Sand, shot by Joe August, ASC. That same year, the
organization began publishing The American
Cinematographermagazine. The ASC is also the publisher of
theAmerican Cinematographer Manual, commonly known as the
filmmakers bible.

Casting Society of America C.S.A.

The Casting Society of America(CSA)was formed in 1982, originally
known as the American Society of Casting Directors. The society is a
collection of the best casting directors in film, television, and stage.

The best work iscelebratedannually with the American Society of

Cinematographers Award for Outstanding Achievement in
Theatrical Releases.

CSA began publishing a monthly newsletter in 1983. Since then,

membership has grown tremendously, with CSA members based in
the US, Canada, Italy, Australia, and South Africa. The CSA
celebrates achievements with the Artios Award, named for the
Greek perfectly fitted.

British Society of Cinematographers B.S.C.

TheBritish Society of Cinematographers(BSC) was first conceived
by Bert Easey, the head of the Denham and Pinewood studio camera
departments. Officially formed in 1949, the society aimed to mirror
the previously established American Society of Cinematographers.

Directors Guild of America D.G.A.

TheDirectors Guild of America(DGA) is a craftunionrepresenting
directors and members of the directorial team working in film,

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television, commercials, documentaries, news, sports and new

media.

The WGAEwas founded in 1912 by a collection of book, magazine,

and drama writers. The WGAW was founded as the Screen Writers
Guild in 1921 in Hollywood. In 1954, five writing unions formed the
WGAE on the east coast and WGAW on the west coast.

Founded as the Screen Directors Guild in 1936, the group merged

with the Radio and Television Directors Guild to form the DGA in
1960. The union offers the DGA Award for Outstanding Directorial
Achievement in Feature Film,which has nearly predicted every
winner of theBest Director Academy Award.

Like the DGA, these unions are some of the most well-known
organizations, but do not use any designations in the credits.

This union is one of the most well known organizations, but

members do not use the DGA suffix in any credits.

Producers Guild of America P.G.A.

The Producers Guild of America(PGA) represents television, film,
and new media producers. Originally formed as the Screen
Producers Guild in 1950, the union has since merged with the
Television Producers Guild and American Association of Producers.
The PGAcelebrates withthe Producers Guild Award, originally
called the Golden Laurel Awards.
The PGA first introduced the post-nominal letters in 2012, allowing
approved producers to add the designation. Unlike other societies
and organizations, the mark does not indicate membership in the
Producers Guild. It only certifies that a producer performed a major
portion of the producing on a given motion picture.
The mark is licensed on a film-by-film basis, meaning any producer
who has previously used the mark is not automatically able to
continue using the designation.

Writers Guild of America (East, West) WGAE, WGAW

The Writers Guild of America is a combination of two labor unions.
The Writers Guild of America East(WGAE) and the Writers Guild of
America West(WGAW).

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5 Tips For Shooting Unscripted Reality Content

Shooting unscripted reality content can be amazingly challenging, but these tips will help any unscripted set achieve better results.
On the surface level, reality television appears to be an easier
medium to shoot or DP than traditional scripted content. After all,
most reality shows have a relatively low production value and dont
involve complex lighting setups. However, unscripted television
poses all sorts of other challenges both on set and off, and so DPs
that plan to work in reality need to learn how to approach their
work in a different way.

speed of the crew. So for those of you that are looking to shoot
unscripted reality content in the future, be sure to follow these five
tips to ensure youre coming to set prepared.

1. Flexible Gear > Cinematic Quality

Its very common for new reality DPs that have a background in film
work to lean the wrong way when it comes to camera choice on a
reality series. While you might have it drilled into your head to
always opt for the highest quality camera you have available to you,
mostshows simply shouldnt be shot on a RED or ALEXA.

Its quite common for first-time reality DPs to completely drop the
ball and be replaced before their first week is up. This happens for
many reasons a big one being their inability to keep up with the

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More often than not, cameras such as the Canon C300 MKII orSony
FS7are the best choice when shooting reality television. While these
may not offer the same quality as the ALEXA that you shot a feature
on last month, theyll allow you to work much faster and with
minimal crew support. The same goes for GoPros, DSLRs, and other
cameras with a relatively small footprint.

ultimately let you get more coverage which is incredibly valuable

on reality sets.

4. Use Free Run Timecode

Every show will be shot differently and have its own technical needs.
That said, in most cases youll be at a huge advantage by using free
run timecode on your camera, as opposed to slating and using record
run.

2. Light for theSpace

Unfortunately on most reality sets theres just not enough time to
light every single shot in the same way that you would on a
narrative set. And even if you do have the time, reality shows are
typically not supposed to look lit, which means you need to ignore a
lot of what you know about narrative lighting when working in
reality.

With multiple cameras on standby at any given time, theres simply

no easy way to quickly slate up before each take at least on most
reality sets. Instead, sync up your cameras beforehand and use free
run timecode so that all of the cameras stay synced throughout the
day. This will allow your editor to painlessly sync all of the cameras
together and start cutting as quickly as possible.

I typically recommend lighting the space in a general sense, as

opposed to creating specific setups for each shot. Using space lights
or china balls will help bring up the ambience inside a room without
locking you into a specific area in which you need to shoot. This
means you can easily flow from one shot to the next without having
to maketime-consuming lighting changes.

5. Prep for Audio

Most narrative DPs have little to no experience with audio, but in the
reality world its quite common for you to need to do double duty.
Although your show will likely have a dedicated sound department,
the nature of a reality set is very unpredictable and some
circumstances may even require that you record audio yourself,
straight to the camera.

3.Minimize Equipment
Although your primary lighting may involve space lights or other
sources that are out of the way, youll still have some additional
lighting gear to manage. For instance, you might have some LED
panels that you walk in for OTF shots, or some extra C-stands and
flags for light control.

Chances are you wont be required to bring any audio gear to set, but
at a bare minimum you should understand the manual audio controls
on your camera like the back of your hand. You need to be ready to
plug in an XLR and set your levels in mere seconds on a reality set,
otherwise you may risk missing an important moment or take.

The more gear you have, the slower youll move on set. Reality shows
tend to move quickly and are often under-crewed, so do yourself a
favor and have only the gear thats absolutely essential with you on
set. This will help you move between set ups much faster, and

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SECTION 20

The Four Advantages of Digital Over Film

When digital cinematography first hit the scene, most pro DPs wouldnt go near it and for good reason. It wasnt until recently that digital cinema
cameras not only offered a viable alternative to film cameras, but in some cases an even stronger option. Lets look at some of the advantages of digital
over film.
Theres no question that film is still the gold standard to which all
digital formats are held to. It still delivers a type of character that is
beautifully flawed and organic in a way that digital never will be. But
even still, there are some instances where digital is simply the
better choice. Here are just a handful of examples of when thats the
case.

Low Light
Filmmakers that came up during the digital revolution very much
take for granted the low-light capabilities of digital cameras.
Standard film stocks often are rated anywhere from ISO 100 to ISO
800, with 1600 and 3200 being options as well (although less
common). That said, just about any professional digital cinema
camera (or DSLR for that matter) can shoot at much higher settings
with far cleaner results.

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There is simply no film equivalent to cameras like thea7S II or the

C300. There is no film stock that will allow you to shoot without any
lights and still get noise-free results. Naturally, shooters that need to
work with limited lighting are going to be drawn to digital formats.

4. Longer Takes
Many directors today have come around to the digital format simply
because it allows for long (or virtually unlimited) record times. Again,
this is something that digital shooters without film experience very
much take for granted. Veteran filmmakers, however, cant deny the
fact that having the ability to record indefinitely opens up a lot of
creative possibilities.

2. Cost and Time On Set

Even if youve never shot on film, chances are youre well aware of
the costs associated with going down that path. While film cameras
are cheaper than ever to buy (or rent), film stocks and processing are
still quite expensive and very prohibitive for low-budget filmmakers.

A standard 1000 foot roll of 35mm motion picture film will only give
you about 11 minutes, which isnt a whole lot. This isnt always going
to be an issue, considering that the vast amount of takes on any
given productions will run less than 11 minutes. But for directors will
a specific type of approach on set, this can be a negative.

And even in cases where an indie production is able to scrape

together enough budget to shoot on film, there can be other
ramifications while on set. More specifically, productions will be
need to shoot at a lower ratio (perhaps only getting two or three
takes per shot) in order to conserve their film stock.

3. Turnaround Time
Many of us have taken for granted the fact that there is virtually no
turnaround time when processing your digital dailies. In some cases,
productions now will even opt to have an editor working on set who
will create assembly cuts of scenes as the rest of the crew is still
shooting.
It goes without saying that this certainly isnt the case with film.
When shooting on film, it will take several days (or weeks) to get
your processing/scanning done, and only then will you be able to
move ahead on the edit. Not to mention, if there are any issues with
the footage, you will need to schedule a pickup day. Unlike digital,
you wouldnt have been able to know on set.

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SECTION 21

9 Tips for Shooting Video in the Rain

Shooting video in the rain is a tricky proposition. Here are a few easy tips for getting it done.
Mixing water and electronics is never a good idea. If you absolutely
must shoot outside during a rainstorm, there are a few things you
can do to make sure that your equipment doesnt get ruined.
Letstake a look at a few different ways you can protect your gear
from the elements.

You will, of course, be limited in your ability to adjust focus and view
your footage on the camera, but when youre shooting in the rain,
this is just one of the limitations youll have to deal with.

2. Improvise a Rain Cover (If Youre in a Pinch)

If youve left your rain cover at home, its not the end of the world.
There are plenty of DIY options out there. The most popular option
is to place a Ziplock bag around your camera and cut a hole out for
the lens to stick through. You could even put gaff tape around the
lens hole to keep it from opening more.

1. Get a Rain Cover

The best thing you could possibly do to protect your gear from the
rain is buy a rain cover for your equipment. There are a lot of
professional optionsout there, and most of themfeature a few
adjustable ties that can fit snugly around your camera.

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If you dont have a ziplock handy, you could always use a trash bag
which can double as a poncho to keep you (relatively) dry.

Rain is Noisy Even the best unidirectional mics will have an

impossible amount of background noise.

3. Use a Lens Hood

Rain is Dangerous for Audio Equipment It goes without saying,

but anytime you mix electrical equipment with water, bad things
are going to happen. This is especially true with microphones. No
matter if you use a boom mic, lav, or video mic, youre going to run
the risk of ruining your mic if it gets wet.
Rain Limits Your Audio Options Theres really no good way to
work around rain when it comes to audio. If you use a boom, its
going to get soaked. If you use a video mic, its going to get hit by
rain drops and be unusable. The best option in the rain is a lav mic,
but even then your run the risk of getting a lot of unnecessary
ambient noise.

A lens hood is a simple plastic cover that fits over the end of your
lens. They are specially designed to keep out of the field of view.
Traditionally, lens hoods are used to protect your lens from bumps
and sunlight, but they can also work as a cover to keep rain off the
front of your lens.
You can pick up a lens hood for about $10 online. I highly
recommend getting one for all of your lenses, just in case.

So if you need to shoot in the rain, theres a good chance youll have
to do some ADR work in post. Its also even more necessary to
record field noise when shooting in the rain, as theres a chance that
you can use the Capture Noise Print feature in Audition to minimize
some of the ambient noise produced by the raindrops.

4. Dont Clean Lenses With Your Shirt

6. Wipe Off Your Gear Afterwards

Water on your lens is super annoying. Not only does it completely

ruin your shot, but it also leaves smudges if you try to wipe it off with
a microfiber.

Most professional gear is water resistant, meaning it wont

immediately ruin if it gets wet. But even water resistant equipment
can get compromised if water is left on it for a long time.

If you have a significant amount of water on your lens you can lightly
dab with a t-shirt. After you dab your lens, use a microfiber cloth to
wipe off any remaining residue.

If you simply stick a wet lens into your pack, you run the risk of water
sitting on the internal electronics in your camera. This could easily
degrade them over time.

5. Prepare for Bad Audio

7. UseBattery-Operated Lights and Keep Them Safe

Audio is almost impossible to work with in the rain. This is for

multiple reasons:

If you need to use lights during a storm, you cant simply plug them
into an electrical outlet. That would be a major electrical hazard. A

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battery-powered LED light inside a large plastic ziplock bag is

usually enough to light a basic set.
There are a lot of battery-operated LED light options out there. One
ofthe best brands for casual productions is Yongnuo. They create
super-cheap LED lights that take Sony batteries. You can pick one up
for as little as $60.

8. Silica Gel
Moisture can be an absolute disaster for cameras, especially if the
moisture gets inside your lens. The easiest way to suck moisture out
of your camera bag: silica gel, the same kind found in shoe boxes. You
can pick up a pack of silica gel bags for about $7 online.

9. AvoidShooting in the Rain

Its always best to avoid rain when you can. If youre shooting a
documentary, then you may have no choice. But for narrative film,
youll always want to control your environment by simulating fake
rain. There are tons of tutorials out there on the subject. You can
even use a water hose if youre in a pinch.

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217

SECTION 1

Video Editing Tip: Organize Your Hard Drive the Easy Way!

Keeping your assets organized in your NLE is vital, but now youve got to organize your hard drive! Heres a great way to do it.

Keeping your project nice and organized when editing is essential

you never know who you might have to hand the project off to, or if
you might have to come back to it much, much later.
If its not organized, headaches and cursing ensue. Keeping things
organized outside of the NLE on your hard drive or server is just
as vital for passing off a project or archiving it. Heres a look at one
potential project organization setup that is great for organizing
projects.

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Approvals

Media

This folder is for non-final versions that are ready for the client to
look over (usually .mp4s in my case).

Some people prefer to keep their media in a different place/drive

than their projects. If you like to keep it all together, put it in this
Media folder, organized by Reel X folders to separate card/shoot
days.

Audio

There are 4 folders inside the Audio folder:

Projects

Mixes: for mastered & mixed .wav or .aif files

Music : raw stock or original music
SFX
VO

This is for all project files, including Premiere/Avid/FCPX/After

Effects, Motion, Cinema 4D, Flash, Audition, Soundtrack Pro, etc.
Its also good to add subfolders for each program (like PR, AE, FCP,
FL, C4D, and so on) plus an XML for any XMLs created for program
interchange: FCP -> Premiere/After Effects, Premiere -> Resolve,
etc.

Documents

Put scripts, interview questions, project briefs, casting notes, etc. in

here.

VFX

GFX

This folder is distinct from the GFX folder This should be used for
any footage elements like green screen passes, background plates,
or non-mograph output from After Effects or Motion (like speed
changes, and logo blurs).

This folder is for any non-footage elements like logos, images, prerendered lower thirds, motion graphics, etc.
Masters

Directly inside the Masters folder is where I put the master .mov
files ProRes 422 HQ typically.
Theres also a subfolder called Deliverables. This folder is specifically
for non-archival delivery formats needed, like H.264 for web, ProRes
or XD Cam for TV station delivery, .m2v/.ac3 files for DVD, etc.

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SECTION 2

How To Increase Your Editing Speed Dramatically

As editors, we are always looking for the best way to tell a story. In most cases, the best possible version is only found after many passes of editing.
Luckily, there are many things you can do to increase your editing speed significantly and get to the finish line faster.
Editing, like any other part of the creative process can be both
highly enjoyable and immensely frustrating. When things are going
well, its an extremely rewarding experience that allows us to finally
see our projects come to life. On the other hand, its possible to get
into slumps when editing (especially early on in the process) that
can prevent us from finishing on time.

You always want to challenge yourself to get better results and to

tell your story in the most efficient and effective way possible. Many
times, this means that you will need to go through many different
iterations of your edit which is completely fine. In fact, its
encouraged.
You might have a general idea of what your film is going to look like,
but truthfully you will never really know until you can watch a
finished version. For this reason, try to get a first rough cut of your
project completed as quickly as possible. After all, if the edit is going

As with any creative process (editing included), the best way to get
to the finish line is by having a mold to work from.

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to change so drastically throughout the process anyways, you are

better off getting the first pass done sooner than later (even if its
flawed), so you at least have something to work from.
You dont want to spend too much time finessing edits and
smoothing over cuts on a first pass of anything, since you are likely to
lose just about all of that hard work.
Here are some tips for getting through your edit faster, so you can
start to focus on the revisions more effectively.

but, seriously. Dont do it. No matter what, its going to get redone,
and lets face it youre probably not that proficient with post-audio.
So leave it to the pros and do what you do best edit! Even if it
means having to listen through some crappy audio during the rough
cut/assembly stages.

Organize Like Crazy

Organization may not exactly be the sexiest part of the editing
process, but if you do your legwork up front and actually set up your
project file properly, you will be able to work way faster once youre
actually in the thick of things.

Avoid Going Through Every Take

Depending on how you (or your director) shot the project, you may
have a ridiculous amount of coverage to go through. Frankly, you
simply dont need to. Some editors like to go through every take first
and do selects where they will place their favorite clips in a timeline,
but in many cases thats a waste of time, considering you arent going
to use 90% of that material.

Organization includes everything from creating proxy files (so that

you can edit quickly, even from a laptop) to logging and labeling all of
your footage properly. The last thing that you want to do is get
halfway through an edit while on a roll and then have to stop for 20
minutes to go and look for a clip. Organize your footage like crazy
and youll thank yourself later.

Instead, go through the edit intuitively. Ask yourself, what comes

next? By doing this, your edit will feel far more organic and will
move much more quickly.

Dont Worry About Audio Edits

Your audio is going to sound pretty bad during the rough cut of your
film. Obviously if your sound recordist did their job properly, the
actual audio itself will be high quality. But in the context of your edit,
it may not sound great at all. Certain takes will be louder than others,
there will be gaps where no room tone is placed, sound effects will
be missing, and loads of other issues will arise.

Learn Your Keyboard Shortcuts

If you havent already started editing with keyboard shortcuts, then
drop what youre doing and learn how to edit that way now. On a
really small project (like a 30 second commercial) this may not be as
much of a factor, but when dealing with a substantial short or
feature film, you can save a lot of time by not juggling the mouse and
keyboard so much.

It will be tempting to start finessing your audio so that it sounds far

more clean, especially if you have to show your producers a cut

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You wouldnt believe how much time you actually spend physically
moving between mouse and keyboard when editing, not to mention
the fact that keyboard shortcuts are in themselves much faster than
drag and drop mouse editing.

Use Placeholders
Sometimes youre on a roll when editing a scene or sequence, but
then you hit a wall. Somethings just not working creatively. Maybe
you cant find the right temp track to use, or there isnt a good
enough transitional shot to bring you into the next act. Whatever the
issue may be, if you start to get stuck on something trivial just
move on.
You dont want to waste an hour of your precious time trying to
finesse an edit or work on a scene that just isnt gelling. Instead, dont
be afraid to just drop in a placeholder (which could simply be a title
card, explaining the scene that will go there) and move on. After
getting through a few more scenes and maintaining your
momentum, it will be a lot easier to go back to that placeholder and
figure out what you want to do there, since youll be looking at it with
fresh eyes.

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SECTION 3

Five Reasons to Get a Color Grading Control Surface

A control surface is an essential piece of gear for professional color correction. Here are five good reasons why.
Though this is no secret to seasoned professionals, many aspiring
colorists dont realize the inherent value that a color grading control
surface will bring to their work. After all, many professional
software packages can be used without additional hardware.

buttons and dials, youll be scrolling through menus to find the

parameter to change, far from a deal breaker to many.
No matter which model you choose, a control surface is an essential
aspect of getting any job graded and delivered on time. Lets take a
look at several specific reasons why any surface is a must for the
serious colorist.

The DaVinci control surface maps many of Resolves functions to

dedicated buttons and knobs, making grading a breeze. However, its
hefty price tag is out of reach for many. Luckily, third-party surfaces
from Tangent, JL Cooper, Avid and newcomer OxygenTec harness
much of the DaVinci panel at a fraction of the cost. With fewer

1. Speed and Multiple Actions

The biggest and most obvious advantage to using a color grading
control surface is speed. With dedicated knobs, buttons, dials and

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wheels set to specific functions, muscle memory quickly develops as

you learn your panel. When you get fast enough, color grading is no
longer frustrating... its actually fun! Youll be wondering how you
ever did good work without a panel for this reason alone.

project or scroll to the beginning of the timeline to play the cut for a
client if they walk.

5. Client Perception
When engaging a new customer relationship, you have to instill
immediate confidence in your clients so they are confident their
project will be handled professionally. Purchasing a panel is one way
to forecast this. By owning a control panel showing your clientele
youre serious about the craft. Whats more, a monetary career
investment now will pay off in huge ways in the future. In time,
better work and more prestigious clients will follow, overshadowing
the panels initial cost.

Speed isnt just about jumping to specific commands to alter your

image. When coloring, its helpful to adjust several parameters at
once to see how the image reacts. This will enable the colorist to
experiment with a wide range of looks to gauge a favorable client
reaction.

2. Trust Me, Your Work Will Improve

Working with a panel enables an organic relationship with your
images. By controlling the color wheels, youll intuit where the image
wants to sit. The physical nature of working with your hands will also
prevent you from processing every job in the same way.

Consider a Control Surface Today

A writers control surface is a keyboard, which is fast since every

letter is mapped to a specific key. Similarly, a colorist doesnt want to
click around on the screen when a gestural input is available. The
nuanced nature of color benefits from having a device that is attuned
to these subtleties.

Using the color wheels and dials allows for finely-tuned adjustments
that are difficult to articulate with a mouse. Many times in session,
colorists will push the slightest change in the hue of a skin tone to
satisfy the client. The software color wheels inside Resolve are small,
making these kinds of moves cumbersome.

3. Stave Off Carpal Tunnel

The ergonomic layout of every panel provides minimal strain for long
grading sessions. If you try to grade a longer video youll quickly
understand the pain-limiting possibilities of a control surface.

4. Execute Actions from Other Applications

Since the control panels are dedicated instruments for Resolve,
button presses continue to interact with the application regardless
of whats in focus. If youre browsing the Internet, you can save your

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SECTION 4

Film Trailer Editing Tips

No matter how great your editing skills are, cutting together a film trailer is an art form and it requires a very unique approach.
Trailers play a vital part in the success of any independent film. Not
only because they help to generate buzz for the film once its ready
to be released, but also because they can help secure a release (or
distribution) in the first place.

cut a great trailer as a means to lock in a distributor, or simply to

promote the films release its critical that the trailer you cut is
impeccable. A bad trailer can absolutely ruin the success of a film
and there is really no excuse not to be able to cut a strong trailer
from a feature film. All it takes is a little practice and some attention
to detail.

Its not uncommon for a distributor to commit to a film without

actually seeing it in its entirety. At film markets, distributors, sales
agents, and other industry pros dont always have the time to watch
films in their entirety before making an offer or securing a deal.

On Hollywood-level feature films, the editor of the film obviously

isnt cutting the trailer. Its going to a dedicated editor, usually
working at a post-company that only focuses on trailers and
promos. The reason being that trailer editing calls for its own

Naturally, they have to rely on the trailer as a means to represent

what the film is capable of. But regardless of whether you want to
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distinctive approach. On your indie film, you may need to edit the
film and the trailer yourself based on budgetary limitations, and
thats perfectly fine. You just need to treat those two parts of the
process as independent projects and tap into different skill sets to
get the job done. That can be done in a straightforward way by
following these five film trailer editing tips:

3. Understand the Format

Not all trailers are created equal. Theres certainly some room for
creative flexibility in the cutting room. You can always break the
rules or use a less-traditional method for getting your vision across.
One example of this might be to take a single moment or scene from
your film and let it play out. Rather than showing the whole picture
of what the film is about, this strategy is all about creating a mood or
texture that teases the audience without giving away many story
details. The infamous first Cloverfield trailer is a perfect example of
this technique.

1. Only Use the Best of the Best

If you are cutting down a 100 minute film into a 2 minute trailer, you
have no reason to use anything but the absolute best footage. This
may sound like a no-brainer, but many indie filmmakers are afraid to
use their best material in the trailer, as they dont want to give
anything away. You dont need to give away major plot points or the
twist at the end of your film, but dont be too precious with your
material.

Theres really no one specific format or formula that works best for
trailer editing, but you do need to identify which approach you want
to take before you start cutting. If you go in blindly, it would be like
shooting your film with no script. Know which format works best for
your trailer, and choose your scenes and moments wisely so that
they fit within those parameters.

Remember that the best footage will draw the biggest audience, so
make sure that every last shot and scene that you show represents
the best the film has to offer.

4. Use Multiple Music Cues

2. Prioritize the First Half of the Film

Two and a half minutes might not seem like a lot of time, but in the
context of a trailer it can be a lifetime. Assuming you have cut
together a wide variety of material and your trailer has some sort of
arc to it, its going to need more than one music cue to bridge
together each beat.

Although you can certainly get away with using scenes from any part
of your film, focus primarily on the first half. In most films, Act 1 and
Act 2 contain the best trailer moments. Act 1 is the setup, so
naturally you are going to want to include enough scenes from there
to help ease the viewer into your story.

Think of your trailer as a miniature film. Would you use the same
music cue for your entire feature film? Probably not. So why use a
single cue for your trailer, which is essentially a short film in itself?
You dont need to go overboard, but using two or three cues
tastefully to help guide the different beats in your trailer can be very
helpful.

And the beginning of Act 2 typically focuses heavily on the premise

of your film or the hook thats going to sell tickets. You want to give
away enough of your film that it accurately represents the story, but
not so much that the viewer feels like theyve seen it all. Thats why
focusing on the first half is usually a good rule of thumb.

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5. Keep the Logo Short

This is a small but important point. Always keep the production
company logo up front as short as possible or dont have it at all.
Having 15 seconds of a logo up front (from a company that no one
has ever heard of) can come across as unprofessional. If you want to
include your logo, thats completely fine. But limit the screen time to
a couple of seconds at the most so you can get into the meat of your
trailer.

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SECTION 5

Four Tips on Integrating Action Cam Shots With Cinema Footage

Embarking on a multi-camera video shoot? Here are four tips on how to trick your audience by effectively mixing GoPro shots with cinematic footage.
GoPro has come a long way since the first version was released back
in 2004. Until the last few years, the pint-sized cameras were use
sparingly (if at all) in Hollywood and professional productions. But
that all changed with the GoPro HERO 3 & 4 series. In fact, GoPros
were the go-to camera for documentary films like 2012s
Leviathan, which used GoPros almost exclusively to capture a
commercial fishing boat at sea.

had before. But the thing to remember: cinematographers dont

simply strap the GoPro to just anything and let it go. They plan and
test certain shots to ensure the cams are being used effectively.

Now these nearly indestructible cameras are being fitted to just

about everything, giving the audience a point of view weve never

Whether shooting for sports, nature, documentary, or feature film,

youve got to have a group of shots that give a sense of space that

Here are four tips that will allow you to integrate your GoPro
footage with cinematic footage:

1. Coverage

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you can cut to, also known as coverage. With this in mind, many
filmmakers are using GoPros, specifically in actions sequences.

4. Lets Clean Things Up

Another way to effectively integrate GoPro footage with cinema
footage is to run post processes other than grading. For example, the
GoPro footage shot in Need for Speed was run through an After
Effects plugin called Dark Energy by Cinnafilm. This plugin allows for
noise and film-grain reduction or additive. Dark Energy was used
specifically to clean up the GoPro footage and to bring in the naturalgrain look thats closer to the Canon C500 and ALEXA footage that
was shot for the rest of the film. Currently though, Dark Energy is
only available as a plugin for the Windows version of After Effects.

Having the option of several angles in post-production allows the

editor to find footage that will cut seamlessly with the main cinema
footage.

2. Film Flat
The GoPro has a setting called Protune. The adjustments that can be
made here are minimal, but really effective. You can adjust white
balance, ISO, sharpness, and exposure. On top of this, you can set the
color to flat which captures more shadows and highlights detail. A
flat image can be matched to your cinema footage through standard
color grading processes.

3. Narrow and Wide

When setting your format, whether it be 1080, 2.7k, or 4k, you have
choices. These options allow you to capture video in either a narrow,
medium, or wide angle. Using a narrow or medium angle will allow
you to mix your footage more seamlessly with cinema footage
(Camera A), but even using 4k with the wide angle will work in many
cases. As Wolf Creek 2 cinematographer Toby Oliver said
If you have a 4K file in post you can zoom in to find a tighter frame and
lose the fish-eye feel, without sacrificing resolution.
In films such as 2013s Into the Mind, the crew used the GoPro
HERO 3 alongside RED Epics and utilized both the narrow and wideangle feature. By using the GoPro they were able to capture intimate
timelapses as well as in-your-face action sequences. While the wideangle lens will usually reveal the GoPros presence to the audience,
limiting its use can be extremely effective and work alongside
cinema footage without issues.

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SECTION 6

Tips For Optimizing Your Computer for 4K

Video editing in 4K? Heres a few technical considerations for optimizing your machine.
Last year I made the switch to shooting and editing videos in 4K. I
quickly realized that in order to work efficiently in post, I would
need to do a major computer upgrade to handle the increased file
size of the 4K video format.

Lighting Fast Storage

For internal memory you want a solution that will process data
quickly. These days an SSD is your best option. SSDs have no moving
parts, so they are less prone to failure and are quicker than
traditional hard drives. Its worth noting that different drives have
different transfer rates. A drive that can effectively do this is the
Samsung 1TB SSD which runs at 540MB/s. Youll need to shell out
more than double the money for a SSD, but its worth the
investment for pro users.

From my own experience, Ive compiled four crucial technical

considerations every video editor should make before making the
jump to 4K video.

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Expand Your Brain

You dont have to go crazy with your computers processor, but you
want one that is solid and can run multiple tasks with relative ease.
Intel is currently in both Mac and PC. With Intel you have two clear
cut choices: the Intel i7 and the Xeon e5. (Info Current as of 2016)
You can go either way here. Both the Xeon e5 and the i7 will give you
the processing power you need to get the job done. The Xeon e5 is
rated just a little better than the i7 and packs a little harder punch
but its also around twice the price.

Boost Your Memory

Theres one thing above all else to consider when editing and
running software like Premiere Pro CC, Avid, and FCPX: memory.
Programs like those listed above use up a lot of memory to process
your work, especially if youre processing and rendering highresolution video. Boost the RAM memory to increase your
processing power. Youll rarely see a professional editor with less
than 16GB of memory in their editing computer.

Max the Graphics

Graphics are just as important as processing power and memory
when building a computer for video editing. Processing 4K will
require a lot of GPU (Graphics Processing Unit) so youll want to find
a solution that gives you at least 1GB of memory.
Remember: the only Macs that you can upgrade after the fact are the
older Mac Pro Towers 2008-2012.

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SECTION 7

Dissecting the Hipster Look

Take an ironic look at hipster style color grades.

With Instagram being over 5 years old, I think its safe to say
hipster-style photography and filmmaking are more than just a fad.

What is the Hipster look?

Instead of simply telling you what makes up the hipster look lets
take a look at a few examples.

Although a hipster look can add some style to your videos, many
filmmakers dont think through their color grading process any
deeper than simply adding a preset. In the following section well
take a deeper look at the characteristics of an Instagram/hipster
color grade, how it mimics the look of some analog film, and
demonstrate a potential workflow for achieving this look.

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1. Vignetting

3. White is Grey

Most (if not all) hipster color grade photos feature vignetting in
some form or fashion. Sometimes vignetting is created simply from
the layout of elements in your scene and sometimes it needs to be
added in post.

Hipster photography typically maps the white parts of the image to

be more grey. This often results in hipster grades making the image
darker than it originally was.

2. Crushed Blacks

4. Blacks are Dark Grey

Most hipster-style images feature more detail information in the

midtones and highlights and less in the black parts of the image. This
is known as crushing the blacks.

After the blacks have been crushed, they are usually lifted to become
dark grey instead. This makes the entire image look more milky.

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The most vibrant parts of hipster images tend to be the yellows and
the magentas.

5. Blues in the Darks, Yellows in the Lights

Most hipster grades feature more blues in the darker parts of the
image and more yellows in the lighter parts of the image. Keep in
mind that these are usually subtle tweaks that complement the
image, not take away.

7. The Image is Soft

As you probably already know, digital cameras tend to be much

sharper than film cameras. Sharp video isnt common in most hipster
color grades, as it makes your image look too mechanical. You can fix
this by adding small blurs and noise to your images.

Hipster Grading in Action

Now that weve broken down what makes up a hipster grade, lets
take some of the things we learned and apply them to an actual
photograph in After Effects.

6. Desaturation

1. Create a Vignette

The first step is to add a vignette to the image. In this particular case,
it seems like there is a lot of brightness in the left area of the frame
and a little too much attention being drawn to the guys arm. To fix
this problem we will create a new black solid and drop the opacity

Most hipster photography/filmography doesnt have vibrant colors.

This is probably because hipster grades try to emulate film, which is
simply not as vibrant as digital, especially if it has time to decompose.

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down to 30% so we can see our image underneath. You dont have to
make your vignette an ellipse. If you prefer you can use your pen to
feather it out until you get a well balanced image.

4. Adjust the Black Point

2. Crush the Blacks

Now do the opposite for the black parts of the image. Grab the
bottom left point in your curves effect and drag it up and to the right.
This will make your black points a shade of grey rather than simply
black.

Create a new adjustment layer and add a levels effect. After Adding
the levels, grab the left arrow and drag it to the right until the dark
parts of your image are crushed. Also, make sure your adjustment
layer is positioned over your vignette.

5. Adjust the Blue Curve

3. Adjust the White Point

You can add yellows to the highlights and blues to the darks by
adding an S curve to the blue channel. To do this simply click the
dropdown box that says RGB and select blue. Now you can adjust
the curves to create a backwards S shape in the image.

Now add a curves effect to your image. Bring down the white points
so they are light grey instead of white. You can do this by simply
drawing the top right corner of the RGB curves bar down and to the
left.

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6. Desaturate

This is, of course, just one example of how photographers and

filmmakers give their images a hipster style.
Next add in the Hue/Saturation effect to the adjustment layer.
Bring down the saturation point just a little. A number around -10
works nicely.
7. Soften

Most digital images tend to be sharp and mechanical. You can fix this
by simply softening the image just a little. Adding a gaussian blur and
setting the blurriness to 1 will work just fine.
There you go! Using just a few simple observations, you can create a
hipster-style image in no time. Try playing around with these
different effects to get different results. Adding things like grain and
light leaks can give your images a hipster look as well.

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SECTION 8

How to Find Your Story When Cutting a Documentary

The process of cutting together any type of feature-length film can be crazy. But it doesnt have to be.
In a lot of ways editing a documentary is much more difficult than a
narrative. Documentaries find their voice in the editing bay, so if
youre looking to craft an engaging story theres a few things you
must always do. Here are a few essential tips for finding your story
when cutting a documentary.

an organized project file with bin, shots, and takes labelled

appropriately. But in order to really stay on top of things, the
organization needs to extend beyond the project file.
Files and folders should be organized just as well on your hard
drives in order to avoid offline media and workflow issues when
sending your project out for sound/color/VFX. I also recommend
organizing and logging all interviews as meticulously as possible
within your project in order to streamline your process for recutting
interview segments later on. For instance, you might want to add
markers to sequences with synced interviews in them and label

Insane Organization
Since shooting ratios on documentaries can be ridiculously high
(sometimes 100:1 or higher), staying organized is one of the best
ways you can make your job easier throughout the editorial process.
The vast majority of editors understand that its important to have

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each marker with the interview topic. It will take some more legwork
up front, but can save you hours and hours of sifting through footage
later on.

from square one. Tackle the material that speaks to you and inspires
you the most. Doing so will lead to further inspiration once you start
hitting the next few scenes and sequences.

Plan Ahead, Then Work from Instinct

Get a First Cut Done Quickly

Although its tempting to wait until youre in the editing room to

start conceptualizing the exact edit and flow of the story, putting in
the early legwork will pay dividends when you jump into the edit.

If youve ever cut together a feature documentary before, you know

very well that the final cut often looks nothing like the first cut.
Documentaries typically have far more revisions than narrative
films. Since theres so much footage to pull from, each revision looks
that much different. The point being that your first cut doesnt need
to be perfect... its going to change immensely anyways.

Its usually best to work with the director and crew before shooting
in order to insure that the film is being shot with editing in mind.
Similarly, you should then be able to go into the edit knowing the
directors exact vision. Its typically not possible for the you, the
editor, to be present for all the shooting, so let the director know
what you would like from the shoot the good takes, the blown
takes, b-roll, etc. This will be immensely helpful when you start
logging footage.

The first cut is really just a mold at which you can start chiseling
away. Its better to have that mold ready sooner than later so that
you can tear it down, rebuild it, and do it all over again, as opposed to
trying to make that first cut perfect and then becoming frustrated
when it needs to get recut.

Based on how good the on-set notes are, and how much time is
allotted for the edit, its often worthwhile to do a rough paper edit.
Working with a director in this stage will make the edit go smoother,
as youll have a clearer idea of their vision based on the footage that
was captured. Its also useful for knowing what still needs to be shot.
Get those Post-It-Notes ready and map out a rough story structure.

Even if you believe you can make a near-perfect first cut, your
director, producer, sales agent, or whoever else might have a say in
the process may very well feel differently.
The best thing you can do is get through your first cut as quickly as
possible (which, by the way, also forces you to work on your
instincts) and then start refining things from there.

Once you get into your editing app, theres no exact formula for
cutting a documentary. One popular approach is to cut the bulk of
interviews together first as a starting point and working out from
there. If youve gone through the footage and one particular moment
really sticks out to you maybe consider cutting that first, and then
working the other scenes around it, assuming its a pivotal moment.
Or maybe you have a vision for a beautiful opening montage and are
able to build out the first act completely sequentially by starting
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SECTION 9

5 Ways Music Is Misused In Films (and How to Do Better)

Music can drive your story and enhance the message of your film, but the process of marrying the two is often underestimated.
Music can literally make or break any narrative film, commercial
project, or documentary purely by the way its used. Music can
evoke powerful emotions in the viewer.

1. Theres Wall to Wall Music

In some rare cases, films can benefit from having a musical score
playing from wall to wall. That said, this is usually a terrible idea and
one of the most common music-related faux pas found in indie films
particularly in short-form content. Like any other creative
element, music needs to be balanced in a way that allows for
contrast. When theres a constant stream of music playing, theres
no breathing room to allow the viewer to sink into a different mood
and then appreciate the musical score when it comes back in again.
Instead, the music simply becomes background noise. Any potential

Many years ago it wasnt unusual for an offline editor to complete

the entire picture edit with no music at all, but its become quite
common for editors to work with existing music cues or temp tracks.
This can be an extremely efficient way to work... if you know what
youre doing.
Unfortunately, many editors fall into traps and ultimately dont
make the most out of their ability to cut to music.
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emotion that may have been evoked as a result of the score becomes
diminished by its over-usage.

4. The Length of the Cue Isnt Right

When working with pre-existing cues, its common for an editor to
pick a cue based on the overall sound, but not consider the length of
the cue itself.

2. The Cues Dont Match Each Other

Editors today have amazing access to vast music libraries that allow
them to pull beautifully composed scores into their project files with
only a few clicks of the mouse.

The fact that a cue might sound right for any given scene is a great
starting point, but there are many other considerations that come
into play to ensure that it will truly work for the scene the biggest
of which is duration. Having a cue thats too long isnt typically a
huge issue, as it can be faded in or out as needed to compensate for
length... but having a cue that is too short can become problematic.

The issue, however, is that some editors dont take enough time with
the music selection process and end up choosing cues that dont
seem to gel at all. If youre an editor thats going to be purchasing or
licensing music online, you need to think like a music supervisor.

One of two things will happen when editing to a music cue that is just
a bit too short: 1. The cue wont cover the entire scene and may drop
off at the wrong point, or 2. The editor may be tempted to shorten
the entire scene to match the cue. Both of these scenarios can be
problematic, so its critical that you always ensure the duration of
your track is sufficient above all else.

Dont simply purchase tracks like youre making a mixtape curate

them like youre creating an album. Its completely fine to mix and
match different genres and styles, but you always need to find some
sort of common thread (whether it be the instrumentation, style,
mood, etc.) that binds them all together. If not, your final piece may
feel unfocused and uninspired.

5. The Musical Theme is Too Repetitive

3. The Music Contrasts the Pacing of the Scene

The final issue common among films with soundtracks is the

repetition of a theme. While it can be a nice technique to have a
recurring theme in a film (musically speaking) and have it drift in and
out during different moments of the film to help anchor things, it
really only works well in certain instances. More specifically, in order
for this technique to really be effective, theres a definitive limit to
how often the same cue can be used. So many indie films make the
mistake of using the same cue over and over again, which inevitably
makes it feel really tired, really fast.

Being a good editor comes down to understanding pacing. This is

true not only of the pacing of edits within a scene or sequence, but
the pacing of the music as well. Its always surprising to see how
many editors have a great understanding of pacing (and place a huge
emphasis on it during their picture-editing process), but dont take
that same level of care when it comes to the music.
The viewer suffers when a beautifully edited scene gets destroyed
with a poorly chosen music cue that completely contrasts the pacing
of the scene. In some cases, it can be a strong stylistic choice to
create a contrasting musical effect. For instance, an extremely slowpaced cue might underscore a fast-paced action sequence, but it just
doesnt work in the vast majority of scenarios.

The other consideration is that even films that use a repeated

musical theme well will typically change that theme slightly each
time it comes in. These films might change up the instrumentation,

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key, tempo, or other variables to ensure that the musical theme feels
fresh each time its used.

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SECTION 10

How to Pick the Right Tone, Shots, and Music for Trailers

Inception horns or no Inception horns?Creating an awesome trailer is an art form and much more difficult than it looks.
If youve spent hundreds of hours working on a film, it makes no
sense to skimp when it comes to editing the trailer. There are a lot of
things to remember when cutting trailers.

a better idea forthe type of materialwith which you will be working

with.While you can certainly get an idea of what the film is about by
scrubbing through, you wont catch the subtle nuances that make
for a great trailer that can be found when watching it through as an
audience member.

Lets take a look at how to create a good trailer and the role of music
at a fundamental level. So whether youre looking for royalty free
trailer music or simply want to learn more about cutting trailers,
here are a few tips for your next big trailer project.

One way to do this is to watch the film and set markers in the
timeline at points in the film that would make for a good trailer shot.
To help with this, most NLEs will allow you to set markers on the fly
during playback. Even if you spent countless hours already editing
the film, its best advised to review the film once youre ready to put

Step 1: Watch the Film

As with most editing, the best way to start editing a trailer is to sit
down and watch the entire film first. In doing so, youll be able to get
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yourself in trailer mode. The secret here is perspective. Dont view

your film as an editor during this phase, view it as an audience
member. Ask yourself:

the actual film. Essentially you are eliminating the audiences need to
go see the film.

What is going to make people excited?

A contemporary trailer generally has five parts which are typically in

the following order:

Is there something that people havent seen before?

1. Start With a Scene From the Film

Do any shots have shock value?

What will draw the largest audience?

Music should not be a big consideration at this point. This phase is all
about figuring out what your trailer can be.

Most modern trailers start off with a very interesting scene from the
film. The goal of the introduction scene is to establish the tone for
the film/trailer. If the scene is strong enough (as it should be), your
audience should want to keep watching instead of clicking on the
recommended cat video next to it.

Step 2: Define Your Narrative

2. Define the Setting

Toward the front of most trailers, a setting is defined in one way or

another. One way is to simply have titles pop up on the scene.
Another is to have your characters define who they are. Typically
you will find perfect setting-defining V/Os in the early part of your
film. Another option would be to hire a professional voice actor to
define the setting but be wary. This In a World style of trailer
has become almost a parody in itself.

The next step is to figure out the way in which your trailer is going to
be structured. In other words, how is your trailer going to tell a
story? Trailers come in all shapes and forms. From a simple clip
directly taken from the movie like Cloverfield all the way to a
narrated introduction (every 90s trailer ever).

3. Character Introduction

In most modern films, characters are introduced using a series of

sound bites from the film. Its in these early stages that you will
introduce your character before theyve undergone their
transformation. You dont want Shia Lebouf thrusting an Allspark
into Megatron. You want the scrappy kid who is in over his head.

In terms of the classic Heros Journey form of storytelling, your

trailer should feature the first and second acts of the story with only
hints about the third. This is why its so frustrating as an audience
when you see clips from the climax of a movie (Act III) in the trailer. If
you give away the ending, youre taking all of the narrative joy from

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4. Plot Introduced

Standard Narrative

Unless you just so happen to have your plot spelled out in the film,
this will be the hardest part. In a nutshell, you want to explain the
plot while building up your audiences excitement.

As stated earlier, a standard trailer is a trailer that follows a

traditional trailer story arc: Introductory Scene, Establish a Setting,
Introduce Characters, Define the Plot, and Hook the Audience.

5. Hook

Music-Driven Trailer

The last goal of your trailer should be to leave your audience wanting
more.This is done by creating a cinematic hook. There are many
ways to do this. From visually stunning montages to a funny oneliner, it just depends on what you want your audience to remember.

Having great music in your trailer is a must. Sometimes music can be

the thing that drives the trailer, rather than the other way around.
Lots of care needs to be given when looking for the right music for
you trailer.

Step 3: Figure OutYour Trailer Style

Complex Narratives

Theres no right or wrong way to create a trailer, just like theres no

right or wrong way to structure a film. But you should make it your
goal to appeal to the biggest audience possible. At the end of the day,
the trailer needs to convince your audience to see your film. While
not every trailer will fall into one of these categories, most film
trailers can be defined as one of the following:

Trailers dont need to have the same narrative structure every time.
At the end of the day,a trailer is simply a tool to get butts in seats.
Sometimes a traditional trailer structure simply wont do and you
will need to venture into something a little more complex. Just
remember, when working with more complex trailers, its advised to
write out an outline.

Teaser

Many editors will skip defining a narrative and instead find epic
trailer music and try to simply insert clips into it. While this strategy
isnt horrible, in many cases it doesnt lead to the best trailer
possible. Music selection should occur only after you pick how your
trailer will be structured.

A teaser is much different than a traditional trailer. A traditional

trailer explains the plot through a narrative structure, but a teaser is
more like a taste of what the entire movie will be like. Teasers are
typically extended clips from a film with light transitions between
them. A teaser can be a great way to keep your audience excited
during the post-production process.

Step 4: Pick the Music

Picking the right music is one of the most important parts of the
trailer process. Ideally, once you get ready to pick the right music,
you will have an idea about the type of music that you will want in
your trailer. If not, take some time, watch trailers that you like, and
get an idea for the type of music you will need.

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While its probably impractical to get a composer to create

something for you, there is a great tool out there called (you guessed
it) PremiumBeat.com. PremiumBeat has thousands of songs that are
perfect for trailers and the best part is PB has sections and
playlists already set up to help you find the best royalty freemusic
for your trailer.
Remember: you want to pick music that plays into the narrative structure
of your trailer. So if your trailer takes time to get to the hook, you might
want to lay off the Inception horns.

Conclusion
At the end of the day, a good trailer is all about getting an audience
excited to see your movie. While there are many different ways to do
this, the concepts outlined in this article should be a great jumping
off point.

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SECTION 11

The Hidden Stories Behind Weird Post-Production Terms

Ever wonder where some of those strange post-productionterms came from? Here are some origin stories you might not know.
The industry is full of strange and confusing terms that make sense
only to thosewho use them everyday. Have you ever wondered
where all these strange terms came from? Lets take abehind-thescenes look at the origin story behind those weird post-production
terms.

In the golden days of animation, every frame had to drawn by hand

but it wasnt the job of lead animators to draw every frame.
Instead, more experienced animators would draw only the key
frames in a scene and more inexperienced animators
calledinbetweenerswould create the drawings between the key
frames.

Keyframes

For more information regarding early animation techniques, I highly

recommend checking out The Illusion of Lifeby Frank Thomas and
Ollie Johnston.

In modern animation applications, a keyframe designates a value at

a certain point in time. These modern day applications can interpret
the data between keyframes so you dont have to. This is called
tweening, and its a recent advance in technology.

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matte paintingswere scenes painted on glassusing, you guessed it,

matte paint.

Masks
In post-production, masking is the process of designating a portion
of the frameto not be affected by a given effect. In Photoshop you
might use a mask to only blur out a background and not your subject.
In After Effects,a mask can be used tohelp with compositing 3D
elements. But the history of masks goes back much further than
Photoshop. In fact, the term is derived from physical masks
whichliterally block portions of your face.

Over the years, mattes would evolve to become modern-day color

keying, but digital matte painting continues to be a process used in
contemporary films.

Rotoscoping
Rotoscoping is essentially cutting an object or subject out of a scene
one frame at a time by hand. While the process is easier for modern
filmmakers, its still verytedious.

Masking has long beenused in fine artsas a way to shield portions of

a canvas from being affected. In fact, masking tape found its
namebecause it was used to mask out certain objects that werent
meant to be painted. Today masking has evolved to become an
essential part of a digital artists workflow and it all started with
physical art.

In the early days of film, an artist would use a rotoscope to project a

frame onto glass. The artist would then go in and tracethe subject by
hand.While theprocess was traditionally used for cartoons,it has
transitioned over time to be used mainly for VFX work.

Feathering
In modern software, feathering is essentially the smoothing out
ofedges. But why is it called feathering?
It actually plays homage to a classic painting technique in which
artists would use feathers to smooth outa transition between two
colors. Feathering was also used by early photo editors as a way to
smooth outink.Even in modern home painting, some people use
feather dusters as a way to smooth out paint color transitions.
Feathering continues to be an essentialprocess for editors and
motion graphic designers alike.

Matte/Matte Painting
In film and photography, a matte is reference footage used to
composite a foreground onto a background. While the history of
mattes in filmis quite dense, the term matte first originated from the
early set extension process known as matte painting.These early

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SECTION 12

5 Editors That Broke the Hollywood Studio System

As the Hollywood studio system began to crumble, these editors turned a new generation of young filmmakers into household names.
In the late 1960s, the United States ofAmericafound itself in a
transitional stage.The younger generation had attached themselves
to art, music, and film. Young filmmakers were unlike any directors
before them. They had grown up with movies and meticulously
studied them. By the 1970s, these young directors were breaking
box office records.

some of the most praised work in American cinema. They werethe

editorsof New Hollywood.

Anne V. Coates
Anne Voase Coateshad dreamed of working in film. Her uncle,J.
Arthur Rank, was a founding member of Pinewood Film Studios. His
company, theRank Organization, also controlled Denham Film
Studios and the Odeon Cinemas chain. Rank was a devout
Methodist, whoproduced many religious films.

Names likeScorsese, Spielberg, and Lucas becamelegendary after

this period. Behind those directors were some incredible editors
who were also breaking traditional molds.Following the footsteps
of the pioneering women in film editing, these women would cut

Anne had expressed her desires to work in film, but her uncle had
reservations. He attempted to break her spirits by having her cut
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many of the religious films he was producing. His hope what that she
would lose interest in the industry and return to her work as a nurse.
However, Anne found the work invigorating.She fixed film prints of
religious short films and sent them onvarious British church tours.

Academy Award for Best Film Editing. Lawrence of Arabia was

nominated for ten Oscars, winning seven.
Two years later, Anne was nominated for her second Academy
Award for her work on Becket.

There were some wonderful women editors who helped inspire me to go

into editing in England. In a way, Ive never looked at myself as a woman
in the business. Ive just looked at myself as an editor. I mean, Im sure Ive
been turned down because Im a woman, but then other times Ive been
used because they wanted a woman editor. Film Sound

There are nonlinear small things in my editing sometimes that you might
not even have noticed. I started jump-cutting from one place to another
quite a lot. When I was editingBecket, the producer, Hal Wallis, said,
You cant do that. You cant cut from this shot to that shot without a
dissolve as they are 50 miles apart. I said, Guess what? Ive done it and
it works perfectly. And its still in the film. Editors Guild

Her passion landed her a job as an assistant film editor at Pinewood

Studios. The first film she worked on was The Red Shoes for director
Michael Powellin 1948. She worked under editor Reggie Mills, who
despite not talking much, taught Anne a tremendous amount of
discipline when it came to editing a film. Mills would go on to win the
Academy Award for Best Film Editing for The Red Shoes. By 1952,
Coates would receiveher first credit as an editor for The Pickwick
Papers.

She received her third Oscar nominationfor the 1981 filmThe

Elephant Man. The film was a challenge, as producer Mel Brooks
didnt want the audience to see the Elephant Mans face until later in
the film.
By the 1990s, the changes in the film industry meant that Anne
would have to learn an entirely new editing process.

In1962, Anne V. Coates would work with director David Lean

tomasterfully edit the epic filmLawrence of Arabia. The film was an
astronomical success, and the editing techniques used by Coates are
still studied and used today.

When Frank Marshall and Kathleen Kennedy offered me Congo, they

said, Well, you have to do it digitally because the special effects system
couldnt do it otherwise. So they had me taught on Lightworks. . . Its just
another tool, really. Once I got that in my mind, I progressed faster. And
then, when I did Out of Sight, Steven Soderbergh had a sound man who
could link up with an Avid [Media Composer] but not with a Lightworks. I
moved then from Lightworks to Avid, and Ive stayed on an Avid ever
since. Editors Guild

I suppose the most challenging film I cut was Lawrence, because we had
such a huge amount of film I believe it was 31 miles! which gave me
an abundance of choices. -Turner Classic Movies
Themost famous edit in the film is the literal match cut.The film cuts
from the image of a match to the sun over the Arabian desert.

Anne V. Coates is still working in the industry, recently surpassing

the length ofMargaret Booths storied career. She just completed
the 2015 blockbuster film Fifty Shades of Grey.

Coatesworked seven days a week for four months to complete

Lawrence of Arabiaon time. Her worked paid off, as Annewon the

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To date she has been nominated for five Oscars, winning one. She
has alsoa member of theOrder of the British Empire.

In 1980, Scorsese called upon Schoonmaker to edit his film Raging

Bull. Initially she had to decline, due to the fact that she was not a
member of the Editors Guild. Apparently her work and friendships
over the years played in her favor, as the union was influenced to
offer her membership. Schoonmaker finally joined the Motion
Picture Editors Guildand got to work on Raging Bull.

Thelma Schoonmaker
While studying at Columbia University,Thelma
Schoonmakeranswered a New York Times ad for an assistant film
editor. She would cut successful European films to fit US broadcast
time standards. In that job, she learned the art of negative cutting.

10 years after her original Academy Awardnomination,

Schoonmaker was once again nominated for Best Film Editing, this
time taking home the Oscar for Raging Bull. Schoonmaker went on to
edit every single Scorsese film since.

Schoonmaker then signed up for a six-week filmmaking course at

New York University (NYU). It was there she met a young Martin
Scorsese. Scorsese was struggling to finish his short film,Whats a
Nice Girl Like You Doing in a Place Like This?

Not onlydid Scorsese help Schoonmaker achieve success as a film

editor, he also introduced Schoonmaker to her husband, director
Michael Powell. Powell was the director of the previously mentioned
film,The Red Shoes. Powell was also a great influence on Scorsese,
who had studied Powells films. After Michael Powells death in
1990, Scorsese and Schoonmaker would go on to preserve his
memory by restoring his films.

Aprofessor asked Schoonmaker to help Scorsese finish the film, and

thus started the legendary Hollywood duo. She would edit
Scorseses first feature film, 1967s I Call First, renamedWhos That
Knocking at My Door.
In 1970, Thelma Schoonmaker edited Woodstock, the documentary
on the famous American music festival. The film showcased the
performers through a series of superimpositions and freeze frames.
The film earned Schoonmaker her first Oscar Nomination for Best
Film Editing, a nomination rarely awarded to documentary films. (In
1996,Woodstockwas selected for preservation in the United
StatesNational Film Registryby theLibrary of Congress.)

In 1991, Thelma Schoonmaker received her third Oscar nomination

for her work on ScorsesesGoodfellas. Though Goodfellas was
nominated for six Oscars, only Joe Pesci won an award.
In 1995, Schoonmaker oversaw the Scorsese documentaryA
Personal Journey with Martin Scorsese Through American Movies,which
was a part of the British Film Institutescelebration of the first 100
years of film.

Even though Schoonmaker earned an Academy Award nomination

for her editing, she was unable to join the Motion Picture Editors
Guild. To acquire union membership, Schoonmaker would have to
first work as an apprentice and an assistant. She refused to do so,
and was thus forced to work on a series of small films and
documentaries for the next decade.

Schoonmaker garnered her fourth Academy Award nomination for

Gangs of New York. Two years later she won the Academy Award for
Best Film Editing for The Aviator, and two years after that she won
another Academy Award for Best Film Editing for The Departed. Her
most recent Oscar nomination was for Hugo.
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Thelma Schoonmakers seven Academy Award nominations for Best

Film Editing are the second most nominations in Oscar history. She
trails Michael Kahn by one nomination. Schoonmaker is currently
tied withlegendary editor Barbara McLean.

would become her most famed use of quick-paced editing. In less

than a minute, Allen cuts over 50 times during the ambush scene.
In the 1970s, Allen would often collaborate with director Sidney
Lumet, editing his filmsSerpico,Dog Day Afternoon,and The Wiz.Dede
Allen earned her first Academy Award nomination for Best Film
Editing forDog Day Afternoon.

Dede Allen
Dorothea Carothers Dede Allenbeganher careerat Columbia
Pictures in the 1940s. She first started as a production runner,
eventually working her way up to sound librarian and eventually
assistant film editor in the special effects department.

Warren Beatty, who had talked to Dede Allen about journalist John
Reed during the production of Bonnie and Clyde, brought Allen on to
edit the 1981 film Reds. It took two and a half years for her to finish
the film, longer than any other film she had worked on. The John
Reed story earned 12 Academy Awardnominations, including a
second Oscarnomination for Best Film Editing for Allen.

One of her first projects as an editor was the 1959 filmOdds Against
Tomorrow, which was directed by Robert Wise. Wise served as
Allens mentor, often encouraging her to experiment with her
editing. Wise was an editor turned director; he edited the legendary
masterpiece Citizen Kane.

In 1985, Allen edited the John Hughes classic The Breakfast Club. She
also edited The Addams Family in 1991. In 1992, Dede Allen
accepted the role of head of post-production at Warner Bros. She
would return to editing in 2000 with the film Wonder Boys,which
garnered her third and final Oscar nomination. Dede Allen died in
2010 at the age of 86.

In 1961, Dede Allen edited the hit film The Hustler starring Paul
Newman. (The films sequel,The Color of Money, was directed by
Martin Scorsese and edited by Thelma Schoonmaker.) Dede Allen
latercollaborated withPaul Newman onRachel, Rachel,Slap Shot,
andHarry & Son.

Verna FieldsMother Cutter

As the Hollywood studio system crumbled, film editors took on a

much more significant role than ever before. Traditionally, editors
were studio employees that did not need attribution for their work
on any particular film. This all changed in 1967, when Dede Allen
became the first film editor to ever receive a solo opening credit on a
film.The film just happened to be her most renowned and praised
work Bonnie and Clyde.

Verna Fieldsbegan her film career as a sound editor in the late

1950s and early 1960s, working on films like El Cid. By the
mid-1960s, she was teaching film editing at the University of
Southern California (USC). She would alsoeditoccasional projects,
likeThe Legend of the Boy and the EagleandTargets.
In 1968, Fields made her directorial debut with the
documentaryJourney to the Pacific. Verna Fields hired two editors to
help her with the documentary, George Lucas and Marcia Griffin.
George and Marcia married in 1969.

Dede Allens work broke from standard Hollywood editing

techniques. She implemented the use of jump cuts, or would open a
scene with a close-up. It would be the finale of Bonnie and Clyde that
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Impressed with her work as a sound editor on his film Targets,

director Peter Bogdanovichasked Fields to edit his filmsWhats Up,
Doc?and Paper Moon. At the same time, George Lucas had Verna
Fields and Marcia Lucas edit his film American Graffiti.

Anymoreandserved as Scorsesessupervising editor for Taxi Driver

and New York, New York.
In 1977, the world was introduced to Star Wars. Directed by George
Lucas, the film was edited by Marcia. Not only did Marcia serve as
the films editor, she helped rewrite the piece. In an interview with
Rolling Stone, George Lucas said,

Both Paper Moon and American Graffiti were nominated for the 1974
Academy Awards.Paper Moon received four nominations.American
Graffiti earned five nominations, including Best Film Editing
forVerna Fields and Marcia Lucas.

I was rewriting, I was struggling with that plot problem when my wife
suggested that I kill off Ben, which she thought was a pretty outrageous
idea, and I said, Well, that is an interesting idea, and I had been thinking
about it. Her first idea was to have Threepio get shot, and I said
impossible because I wanted to start and end the film with the robots, I
wanted the film to really be about the robots and have the theme be the
framework for the rest of the movie. But then the more I thought about
Ben getting killed the more I liked the idea.

That same year, Fields began editing the The Sugarland Express, the
directorial feature film debut of Steven Spielberg. For her skill and
attention to detail, Fields became endearingly known as Mother
Cutter.
Even though she was surrounded by up-and-coming talent, Verna
Fields edited herlastfeature film in 1975. She worked on Spielbergs
next film Jaws. Verna Fields would absolutely go out at the top of
her abilities, as Jaws is an absolute master class in editing.

Marcia was also crucial to the films climactic Death Star finale. To
build the tension the original sequence lacked, Marcia had to reorder the shots from thebeginning. She told George:

Verna Fields won the Academy Award for Best Film Editing for Jaws,
beating out Dede Allens Dog Day Afternoon.

If the audience doesnt cheer when Han Solo comes in at the last second
in the Millennium Falcon to help Luke when hes being chased by Darth
Vader, the picture doesnt work.

Following the success of Jaws, Verna Fields became the VicePresident for Feature Production at Universal Studios. She remained
in that position until her death in 1982.

Her intuition proved right, as Star Wars was not only a blockbuster
hit, but also a hit with the critics. Marcia Lucas wonthe Academy
Award for Best Film Editing for her work on Star Wars.

Marcia Lucas
As previously mentioned, Marcia Griffin married George Lucas in
1969. She worked as an assistant editor on THX 1138andThe
Candidate.Marcia Lucas would then collaborate with Verna Fields on
American Graffiti, earning her first Oscar nomination.

Marcia would go on to editStar Wars: Episode V The Empire Strikes

BackandStar Wars: Episode VI Return of the Jedi. Those would be the
final films she would ever work on. Following a divorce from George
Lucas, Marcia has withdrawn from public view and kept to herself
since.

While Martin Scorsese was without Thelma Schoonmaker in the

1970s, Marcia Lucas edited Alice Doesnt Live Here
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253

SECTION 1

What is Light Wrapping? Tips & Tricks

Lets take an in-depth look at the art of light wrapping in post-production.

If you do a lot of keying, then youre probably familiar with the term
light wrapping.

correctly, light wrapping can really help give realism to your scene. If
overdone, it can make your footage look soft and unbelievable.

The concept of light wrapping is easy to understand, but in practice

it can be rather difficult to get a perfect light wrap. Lets take a look
at light wraps and examine a few easy methods for creating them.

Light wrapping is often performed automatically when using a

keying software. However, just like in photography, automatic
doesnt always mean better!

What is Light Wrapping?

How to Light Wrap

Light wrapping is a compositing technique designed to blend keyedout green screen footage with a background plate. When done

In a nutshell, light wrapping works by softening the hard edges

produced when keying out green screen footage. By adding in a
feathered portion of the background to the edges of the keyed

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subject, you can make your scene look more like a composition than
a series of layers. Check out the following diagram:

Key Correct

Key Correct is an industry standard when it comes to light wrapping,

noise reduction, and any other key-related feature you can imagine.
In Key Correct you will find 15 stand-alone plugins designed to help
you clean up your green screen keys. The results are fantastic and
you can even get a free trial from Red Giants website.
Price: $399
Borris Continuum: Key and Blend

Serving as a small portion of the larger Boris Continuum Complete,

the Key and Blend pack gives users of After Effects, Premiere, FCPX,
Resolve, Nuke, Scratch, and Media Composer the ability to preform
realistic light wraps with ease. The pack comes with 20 plugins and
filters designed to help with the compositing process. Boris is also
offering a free trial of Key and Blend so you can use it today.

As you can see, light wrapping is a very subtle effect that, when done
well, isnt going to be noticed by your audience. The light wrapping
layer is merely using the outline of the keyed footage to blur out a
small portion of the background.

Price: $299

Light wrapping is used to simulate the ambient light that is

supposedly casting light onto your subject in the scene. In some
circumstances, like mixed lighting, it can be better to use another
layer besides your background layer for the light wrap. Really, it all
depends on your scene.

Plugin Solutions
A lot of high-end keying applications have light wrapping built in,
including the Keylight software that comes with Adobe After Effects.
However, if realistic light wraps are your goal, we suggest you check
out the following plugins:

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SECTION 2

Easy Tips For Creating an Awesome Title Sequence

Grab your audience from the get-go with a perfectly executed title sequence!
In terms of production value, the difference between a project shot
for $10,000 and one shot for $1,000,000 isnt all that different any
more. Cameras like the RED EPIC DRAGON have opened up the
ability for low budget filmmakers to create final products that can
rival productions with many times their budget.

A) Go overboard and attempt to create a heavily animated After

Effects style title sequence, or
B) Keep things simple and overlay text on the edit itself, or on a
black background.
Unless you are a professional After Effects artist, I would always
recommend going with option B. Attempting to create an elaborate
title sequence by yourself will not work 99% of the time and the
vast majority of projects simply dont need it. In fact, the current
trend today with films of all sizes is leaning towards fewer titles (if

Yet, no matter how good the camera tech gets, there are always
going to be certain elements that can give away a low-budget film
one of which is the opening title sequence. Most commonly, low
budget films make one of two choices when it comes to their
opening titles. They will either:
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always better so never up your font size unless absolutely

necessary.

2. Choose a tasteful font.

This one is going to sound like a no-brainer, but poor font choices are
very common.
Its usually best to now use textured fonts. In other words, fonts that
have a grungy or spray painted look (or anything else overly stylized)
can look very cheap. Clean and simple fonts will almost always work
better.
Keep the following truth in mind: if your film is successful, it will be
seen for many years to come. The last thing you want is to get stuck
with a font that dates your movie.

any) up front, and going for a more minimalistic approach with

regards to the design.

3. Dont Animate the Titles

A few years ago, a trend started that involved animating titles to
match the picture. So, for example, there might be a shot of a bus
crossing the screen, and then the titles might follow along behind it.
This fad has largely died off, yet many indie filmmakers are still
attempting to animate their titles in hopes that it will add some
production value.

While there is no such thing as a one size fits all solution for any
creative choice, the following five tips which will keep your basic
titles looking clean and professional:

1. Keep the Font Small

Awkwardly sized titles are notoriously prevalent among indie films.
There is no reason to have opening titles take up half of your screen
real estate. Unless youre intentionally going for a certain look, such
as block text that covers almost the whole screen, keep your titles
nice and small.

Simple is always better. Nine times out of ten youre going to be

better off just fading in a static title over picture (or black) than
animating it to achieve an unoriginal effect.

4. Use Framing Guides

The best thing to do is find a size that is just comfortable enough to

read without squinting your eyes, but not much bigger than that. The
main title card with the films name is the exception to this rule, and
you can always have that title appear much larger so it stands out
from the rest. However, for any and all other titles, small is almost

You can easily tell when an editor hasnt used framing guides with
their titles. One title will fade into the next and they will just be
slightly off from each other. Or a main title that is supposed to be
centered will feel like its off to one side or the other.

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It takes you practically no time to turn on your framing guides and

snap your titles to the right position on the screen. Whatever you do,
please make sure you dont skimp out on this step.

5. Avoid Drop Shadows

As we mentioned before certain font choices can really date the look
of your film. The use of drop shadows can pose the same issue. Drop
shadows can look okay in certain circumstances, especially when
they are part of the overall aesthetic of the films brand. However,
they should never be used simply because the text needs to stand
out more.
For example, if youre trying to put one of your title cards on a shot
that has a high-contrast background and the title isnt showing up
properly you might be tempted to add a drop shadow. This is the
logical thing to do. But at the same time, it will change the overall
feel of your titles. If you absolutely have to use drop shadows, then
go for it just make sure you use them across the board on all of
your titles to ensure a sense of consistency.

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SECTION 3

Understanding Spatial and Temporal Interpolation in After Effects

Temporal and Spatial Interpolation are two distinctly different terms. What do they mean and what purpose do they serve in After Effects?
Theres a lot of lingo to learn in After Effects. Theres a lot of foreign
verbiage from Frame Blending to Rasterizing that can be quite
confusing to both AE rookies and experts alike. Two terms
commonly misunderstood in After Effects are Temporal and Spatial
Interpolation.

Temporal Interpolation
Temporal Interpolation refers to the way After Effects processes
keyframe changes in time. For example, when youre converting
your position keyframes from linear to Bezier or Easy Ease, you are
changing the time at which the layer will be at a certain point, not
necessarily changing the shape of an objects path.

The terms Temporal and Spatial are used almost exclusively to talk
about interpolation (the way After Effects processes data between
keyframes) in After Effects. However, the two are very different in
the way they work.

When creating lifelike movements, adjusting the temporal

properties are a must. If youre viewing the speed graph in the graph
editor, you are viewing a temporal graph it only deals with
changes between keyframes in time, not in 2D or 3D space.

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successful in After Effects. But understanding the difference

between the terms will help your mind become better attuned with
the way After Effects processes data, which might help if you want
to dive into scripting in the future.

Spatial Interpolation

Whereas Temporal Interpolation has to deal with changes in an

objects time, Spatial Interpolation deals with changes in a layers
path shape. When youre talking about smoothing an objects
keyframes using Spatial Interpolation, youre talking about
smoothing in such a way that harsh path points become rounded.
When to Modify Interpolation in After Effects

Both Temporal and Spatial normally refer to the type of smoothing

that youre going to be adding to your keyframes. By using the
Smoothing Window in After Effects, you can select your desired
keyframes and it will give you the option to smooth using a Spatial or
Temporal path. If nothing else, using this technique will help you
learn the difference between these two types of interpolation.
Still Confused?

In the end, its best to think of Temporal as Time and Spatial as Space.
Practically speaking, you probably wont need to know the
difference between Spatial or Temporal Interpolation to be

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SECTION 4

Useful Blending Modes in After Effects

We shed some light on our six favorite blending modes in After Effects.
One of the quickest ways to add stylization to your video or images
in After Effects is to use a blending mode. Blending modes (or
transfer modes) are mini-effects that can be applied to any layer in
your composition to make it interact with the layers beneath.
Transfer modes can serve as a quick keying utility, a color effect, or
even a silhouetting tool. Heres a roundup of six popular After
Effects blending modes.

black background. For example, take this image

1. Screen
Screen is used to get rid of the dark parts of your image. It lets you
composite elements on a black background into your scene. You can use
this mode in a VFX context, as VFX elements tend to come pre-or on a
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And put in this snow element...

2. Multiply
Multiply is the opposite of Screen. Instead of taking out an images dark
parts, it takes out light parts. Multiply can be used in a lot of different
ways, but I typically use it to add grungy textures to my compositions.
For example if we had this image:

We can apply a the Screen transfer mode to composite the snow into the
final image.

and wanted to add this image:

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We could simply add a Multiply effect to create a grungy effect.

And wanted to create a Hipster style light leak we could put this
masked out solid layer on top.

3. Add
Like Screen, the Add transfer mode leaves only the highlights of the
image while removing the dark parts. However, Add goes one step
further. Add, as the name implies, adds its color values to the image
below causing the image to greatly increase in brightness.
You will typically use this transfer mode to simulate lighting in your
composition such as lens flares or light leaks.
For example if we had this image...

Then we could apply the transfer mode Add to create this stylized
light leak look.

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and applied this image to the top of the composition...

4. Classic Color Burn or Color Burn

In line with Multiply, the Color Burn transfer modes will darken your
image. However, Color Burn differentiates itself in a way that it
blends with the background. As the name implies it creates a burned
look, making it great for grunge and vintage looks. Highlights are
retained when using the color burn effect. Color Burn is typically
used to add a dirty vintage effect.

We would end up with this:

For example if we had this image

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5. Overlay

6. Soft Light

Overlay changes the color of the mid-tones while preserving the

light and dark parts of your image. Overlay is typically used to add
stylized elements into your composition. The following example is an
image with a green solid with the Overlay transfer modes applied.

Soft Light is very similar to the Overlay transfer mode. However, Soft
Light tends to be very subtle whereas Overlay is more noticeable.
Heres the same layer on the same image with the Soft Light transfer
mode applied instead of Overlay.

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SECTION 5

Tips for Faster Rendering in After Effects

Sick of slow render speeds? Check out these fourteen tips for faster rendering in After Effects.
Rendering is an annoying (but unavoidable) aspect of the motion
graphics process. However, there are a few steps you can take to
make your After Effects renders as fast as possible.

the full list on the system requirements page on Adobes website. If

youre using a sub-par card, youll likely see an instant render speed
increase when you switch.

1. Use the Right Graphics Card

2. Upgrade Your RAM

After Effects is an incredibly intense program for your graphics

card. No surprise, right? And while there may be hundreds of
graphics cards available for your computer, only a few are
recommended by Adobe to run After Effects. Adobe specifically
recommends certain GeForce, Quadro, and Tesla cards. You can find

If you work day in and day out in After Effects, then upgrading your
RAM is the way to go. Adobe recommends at least 4GB of RAM to
run After Effects, but youll benefit from much more than that. Its
not uncommon for professional AE users to have 32GB of RAM or
more.

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3. Use a Solid-State Drive

Simply click the check box next to Render Multiple Frames

Simultaneously and adjust the settings to your liking.

6. Reduce Pre-Comps
A solid-state drive is a quick way to increase rendering speed in
After Effects and the overall speed of your computer in general. If
you purchased your internal or external hard drive for less than
$100, its time for an upgrade. With a solid-state drive, After Effects
will be able to load assets, reference the cache, and load effects
much faster all leading to reduced render times.

4. Use Two Hard Drives

When you render your footage to the same hard drive your project is
saved on, you are forcing that hard drive to perform two operations
simultaneously: read and write. While this doesnt lead to render
times that are twice as slow, it does lead to reduced render times.
Instead, try using one hard drive to run the program with assets and
another hard drive to render the finished video.

Pre-comps are a funny business inside of After Effects. When it

comes to creating an organized and convenient workflow in After
Effects, pre-comps are extremely efficient. However, pre-comps
arent always best when it comes to creating fast render times. This
is because pre-comps require pixel information to pass through
multiple compositions before rendering to your hard drive.

5. Turn On Multiprocessing

7. Clean up your Compositions

After Effects has the ability to render out multiple frames at the
same time using multiple processing cores. By default,
multiprocessing isnt turned on in After Effects... you have to do it by
hand. To do so, navigate to After Effects > Preferences > Memory &
Multiprocessing. A screen that looks like this will pop up:

Just because you cant see a layer inside your composition doesnt
mean it isnt being rendered by your CPU. So before you send your
composition to the render queue, make sure you delete/trim any
unused layers inside your composition.

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8. Trim Layers Off-Screen

11. Choose the Right Codec

Files that are actually out of the video frame will still take a toll on
the rendering time, especially if you are using 3D cameras. If your
goal is to optimize render times you need to use the trim feature
(option + [ or ]) to trim your layers up to the exact frame that they
will be used in your composition.

Less compressed codecs like MOV take longer to render in After

Effects than smaller codecs like H.264 or ProRes. Its important to
ask yourself what your video will be used for once its done. Will it be
on TV or simply embedded on the web? If its going online, chances
are its going to be incredibly compressed anyways. So maybe you
dont need to export your video as lossless?

9. Turn off Ray-Traced 3D

12. Turn Off Motion Blur, Depth of Field, & 3D if Unused

Ray-Traced 3D layers was one of the coolest features introduced

into After Effects in CS6. Finally... a way to create 3D models directly
in After Effects!
This excitement was short-lived though, as Ray tracing takes way too
long to be practical for everyday use. Make sure your composition is
set to Classic 3D instead of Ray-Traced 3D before you render. If you
dont, youll see your render time increase by at least double.

When it comes down to increasing your render speed in After

Effects,you need to ask yourself: will this feature be used in my
video? Often you can toggle unused features off to make your
render times much faster. For example, if you dont need your
layers to have motion blur, you can toggle the motion graphics
button to off. If you have a 3D camera, do you really need to have
depth of field? Or are you trying to get a 2D flat look? If your layers
are set to 3D, is it for a good reason? Could you simulate 3D by
scaling down your objects and moving them in 2D space?

10. Close Other Programs

It can be easy to forget, especially when using the Adobe Dynamic
Link, but before you render a composition in After Effects you need
close out all the unused programs running on your computer. This
will free up space for your CPU to run After Effects.

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they would be released. But now that the Creative Cloud is

prevalent, you should always have the latest update.

13. Be Selective with Effects

Bonus: Use Media Encoder to Export Compositions

One of the biggest problems with using the render queue in After
Effects is the fact that you cant do anything else while rendering.

Not all effects are created equal. Some take more time than others to
render. To speed up render times, you need to become very selective
about the effects you use. Most effects have been optimized to render
across multiple threads on your CPU, but there are a few that will only
allow After Effects to use one thread at a time. If an effect only uses
one thread it will take much more time to render. These effects are:

However, this is a hack that you can use to render AE compositions

and still work on another project using Adobe Media Encoder.
Simply import your AE project into Media Encoder and you will be
able to select which composition you wish to export. Because this
doesnt go directly through After Effects, you will be able to work on
other projects during this process.

Auto Color
Auto Contrast
Auto Levels
Cartoon
Lens Blur
Particle Playground
Shadow/Highlight

14. Newest Version of AE

While each update to After Effects may not seem revolutionary,

Adobe is constantly trying to make After Effects faster and more
optimized for users. It is important to install the latest version of
After Effects available to you. Sure, back in the day it was a large
financial commitment to purchase each Creative Suite update as

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SECTION 6

After Effects: Presets vs Plugins vs Scripts vs Expressions vs Templates

Confused about the lingo in After Effects? Lets break down the key differences between presets, plugins, scripts, expressions, and templates in AE.
Theres a lot of confusion out there over the different terms used in
After Effects and rightfully so. The terms above are often used
online interchangeably, adding to the uncertainty. Lets clear up the
confusion.

layer in After Effects, you can save your effects as an animation

preset and recall them in the future. Expressions can also be saved
into presets to give them added functionality. Well get to that in a
moment.

After Effects Presets

To save a preset in After Effects, simply go to Window > Save

Animation Preset with your effect layer selected. You will now be
able to see your new effect in the effects browser.
Skills Needed to Create: Basic After Effects Knowledge

Animation presets are a collection of effects that can be saved for

later use. Animation presets are made up of effects (and keyframes
in those effects). If you ever create an interesting look on a single
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After Effects Scripts

Templates

A script is a block of code that tells After Effects to do something.

Scripts can be used to perform various tasks inside After Effects,
from creating layers to batch rendering. Like presets, scripts are
usually used to save time in After Effects, but scripts arent limited to
effects only. Generally, scripts are used to perform utility functions
inside of After Effects.

A template is an After Effects project file that is intended for

customization. Templates can utilize plugins, as long as the person
opening template has the plugin installed on their computer. Any
project can be turned into a template... just go to File > Save As and
select After Effects Template in the dropdown.
However, its important to remember that templates can only be
opened in current and future iterations of After Effects, not versions
from the past. So if you save your template in After Effects CC, you
cant open it in After Effects CS6.

Scripts use a coding language called Extend Script, a deviation of

JavaScript. Scripts cant be directly written and tested inside of After
Effects. Instead, script creators usually use the ExtendScript Toolkit
included in the Adobe Creative Cloud. The ExtendScript toolkit can
be used to write scripts for most of the programs included in the
Creative Cloud, not just After Effects.

Special Skills Needed: Basic After Effects Knowledge

Notable Examples: Retro Titles, Blood Splat Titles

Special Skills Needed: ExtendScript or JavaScript

Expressions

Notable Examples: Dojo Toolkit, Motion 2

An expression is essentially a snippet of ExtendScript written

directly into After Effects. Expressions are typically used to
manipulate values for a single parameter like color, position, or
intensity. Expressions can be used to link values to sliders and
checkboxes, making them great for anyone looking to create wellorganized templates. Expressions can range from a few words to
hundreds of lines of code. It all depends on the functionality.

Plugins
Plugins give After Effects users extended functionality beyond what
is possible inside of After Effects alone. Plugins are created using
external code that essentially creates a new software that works
alongside After Effects. Some of the most revolutionary tools in
After Effects (like Element 3D, Optical Flares, and Trapcode
Particular) are all great examples of plugins.

Special Skills Needed: Basic JavaScript

Notable Examples: Wiggle Expression, If/Else Expression

Plugins are difficult to create, so its unlikely that you will be able to
create a plugin on your own without an extensive background in
coding.
Special Skills Needed: C/C++, JavaScript
Notable Examples: Element 3D, Trapcode Particular, Optical Flares

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Five Underrated Ways to Promote YouTube

Check out this list of highly underrated ways to promote YouTube videos. Apply them properly and you might get more eyes on your videos and channel!
Uploading a video to YouTube is just the beginning. The real fun
comes when you decide to find ways to get your video in front of a
larger audience. After youve applied basic and advanced
techniques in boosting your videos ranking in search, try out these
valuable (and often underrated) tips to enhance the reach of your
YouTube videos.

significantly easy for viewers to watch multiple videos with no

effort at all. Since you hook viewers up for several videos in your
playlist, the overall watch time is increased dramatically.
To create successful playlists, be very strategic. You dont need to
stuff all your videos in one single playlist. Group videos by topic so
that viewers want to watch the videos in one shot. Dont be too selfcentered while creating playlists. Create playlists using your own
videos and other videos if they fit the topic.

1) Build YouTube Playlists Around Your Videos

Playlists play an extremely important role in distributing your video
content on YouTube. Frankly speaking, playlists need to be in the
center of your channel strategy. Why so? Well, playlists make it
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You may want to order your own videos to be at the beginning, in the
middle, and at the end of your playlist. Playlists need to be optimized
with relevant descriptions so that viewers can find them in search.
Publish playlists within your YouTube channel. In this way, the
playlists will easily reach your subscribers.

One caveat to bear in mind After the above cross-promotional

events take place, make sure you continue feeding your new
subscribers with videos on a regular basis. That content will
determine if your new followers want to stick around.

3) Promote Your Videos on Friendly Blogs

In the same vein as reaching out to fellow YouTubers, create a circle
of bloggers who can help drive video views by embedding your
videos into their posts. By the way this one is really tough!
Bloggers treasure the relationship theyve cultivated with their
readers and will be cautious about any content coming their way.

2) Collaborate With Other Creators on YouTube

Collaborating with other video creators (especially channels
catering to audiences similar to yours) is a proven method to get
your channel beyond its regular reach. Youll likely find that video
creators are open to testing new content and giving new stuff to
their viewers.

To start off, track down the sites that embed your videos. How to
track them down? Set Google Alerts for your channel name, your
video titles, and specific keywords you use in the video descriptions.
Contact bloggers with the videos most relevant to their preferred
writing subjects. Why not invite bloggers to check your playlists out
too?

So the task is to find channels which work for your audience and
reach out to them. What to do next? Guest-starring is one of the
most popular techniques. Some other ways that work include: joint
hangouts, exchange of video uploads, and links (both in-video and in
text descriptions).

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Bonus Tips
Promoting your YouTube videos may seem an overwhelming task.
But the more you promote your videos with good results, the more
you will want to continue. Here are a couple of bonus tips:
1. Improve your video production.

Get a better camera, improve your sound, add some quality royalty
free background music.
2. Create expectations and satisfy them.

Regular production and scheduled publishing these are two keys to

keep your audience engaged. You create an expectation. Make sure
you live up to it.

4) Insert Your Videos in Email Updates

Promoting your content by email does work, even though there are
rumors email is dead. Remember that your subscribers provided
their emails voluntarily! Youve already won their hearts. So give
them more news and updates.

3. Share on social.

YouTube is a massive social platform by itself. But you want to get

your videos beyond it through sharing on other social media outlets.
And Facebook is not your limit. Consider Twitter, Reddit,
StumbleUpon, and LinkedIn.

If you have a list of email subscribers, send them a message every

time you upload a new video. If you send regular newsletters,
mention your videos in these emails. Adding a description and an
attractive screenshot or thumbnail in the email is usually enough to
start getting clicks and, eventually, video views.

4. The very last bonus tip.

If you are serious about promoting your videos on YouTube,

download the YouTube Creator Playbook and read it through.

5) Use Old Public Relation Promotional Methods

How do PR companies still exist in this digital era? Well, simply put,
its because good old-fashioned PR works. A well-distributed press
release containing your video can land you a lot of traffic and views.
Talking in public or on the phone and following up with a summary
(with your video in it) is also part of the PR game. Presentations at
various industry events also fall into this category.

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SECTION 2

How to Avoid Film Festival Rejection

Rejection is a brutal reality in any creative industry. Fortunately, there are steps filmmakers can take to avoid film festival rejection.
Getting into a festival (especially a major) is a huge challenge to say
the least. Even with all the competition out there, you still have a
shot you just need to tell your story in a way that is conducive to a
festival acceptance. Below, Ill outline my top three reasons that
your film might face film festival rejection. Next time around youll
know what NOT to do!

genre films finished every year and a great deal of them are
subsequently submitted to major film festivals. The problem is that
there are only a small handful of spots for a genre film at any of the
majors. Of course, sometimes it works out. The small 2015 horror
film It Follows found acclaim at Cannes and went on to mainstream
success.

You Submitted a Genre Film to the Wrong Festival

While it may be true that there are films from every genre at any
major film festival (including horror and sci-fi), the truth of the
matter is that top-tier festivals often only have a few narrative
feature spots open for genre films to be programmed in. If you have

Genre films (horror, sci-fi, etc.) are very often created by filmmakers
on a tight budget, as they are typically easier to sell when compared
to dramas or comedies. As such, there are staggering amounts of
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a genre film on your hands, you should befocusing your efforts on

genre festivals. This may also increase the odds of getting
distribution from a buyer at the festival.

Were not just talking about production value or the acting here
(which are both extremely important), but rather the overall story
and meaning behind your film.

You Submitted a Rough Cut

Having a good film isnt enough. It needs to be thought-provoking,

timely, relevant, and impeccably produced.

Most festivals allow filmmakers to submit their films as a work-inprogress cut. This may be fine if youre a well-known filmmaker, as
sending in a rough cut can get you on the radar of the programmers.
This probably isnt the way to go unless youre a name producer/
director. In fact, sending in a rough cut is generally a bad idea.

The next time youre upset that your film didnt get into Sundance or
Cannes, take a look at some of the films that did and ask yourself
why they got in. While you might want to tell yourself its because
the filmmakers knew someone or had some sort of connection the
truth is that their film was probably stronger than yours and a better
fit for the festival.

From the programmers perspective, there is a massive concern that

the story you are submitting will differ significantly from the final cut
submitted. And really, why should they take a risk on your
incomplete film when theyve received tens of thousands of
completed, high quality submissions that they can choose to
program instead?

That doesnt mean that your next one wont get in or that you are a
bad filmmaker. But it does go to show that you likely still need to
hone your craft to the point where your films will be festival worthy.
Its totally doable with enough dedication.

This notion applies to films that are not yet picture locked and those
that are locked but havent yet had any finishing work done on them.
Finishing elements like color correction, sound mixing, etc. have a
great impact on how an audience views and enjoys your film. In this
case, the audience is festival programmers. They understand the
craft of filmmaking, but they have no idea what your film is going to
look like when its done.

You Didnt Submit a Festival-Worthy Film

Festivals, large and small, are fiercely competitive. You may do all the
right things, follow all the guidelines available to you, read every
book on how to get into festivals, submit a fully polished cut But at
the end of the day, if the quality and substance of your film is
anything less than incredible, then nothing else will matter.

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SECTION 3

Tax Deductions for Filmmakers and Videographers

Make tax season a little less painful with these tax deductions for filmmakers and videographers. It will likely save you money!
Before we begin: Were not Certified Public Accountants, so be sure
to consult a CPA to find out exactly what tax write-offs work best
for you. Lets kick this off with two pieces of very important advice

documentation to my CPA so she can prepare my taxes for filing.

Speaking of CPAs

1. Keep Immaculate Records

Youre going to need help navigating the ins and outs of what can be
deducted and what cant. Hiring a CPA will help you save some
money in the long run.

2. Hire a Certified Public Accountant

Keep your records in order and set aside a percentage of every

dollar you earn for self-employment tax. Weve found that utilizing
assets such as Square to send invoices and run credit cards really
helps me keep my records tight. Then you tie Quickbooks to a bank
account to consolidate all of your records into one place. At the end
of the year, all you have to do it send the Quickbooks

Deductions for Filmmakers and Videographers

As we explore these possible tax deductions for filmmakers and
videographers, keep in mind that you could end up audited. Be sure

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that you can justify your deductions. That point is going to come up a
lot as we move forward. Now lets look at some easy ways that
deductions can save you some money.

cards, tripods, sliders, and stabilizers are deductible as long as they

are being justifiably used for your business.
4. Digital and Print Research

1. Small Items

As filmmakers and videographers, we are constantly consuming

content in order to stay on top of what is going on in our industry.
Because of this, you might be justified in deducting the whole cost or
a portion of the cost of Netflix, Hulu Plus, Amazon Prime, cable
service, movie tickets, industry books, periodicals, and smart phone
apps. Again, you have to be able to justify these expenses as
something you need for your work. Your CPA will be able to give you
a concrete answer on whether you can apply these expenses as
deductions.

Any small item that you spend money on for daily production tasks is
something you can deduct. Tool kits, dry erase boards and markers,
gaffer tape, etc. These are all things you can deduct. You just have to
be able to justify the purchase and its use in your daily business.
2. All Computer Related Items

If you purchased a new computer this year, its deductible with

some conditions. If you use that new computer solely for work, then
you can claim the entire purchase price, but only by using a Section
179 Deduction. If youre using the computer for business and
personal, that changes how much of the purchase price you can
deduct. Your CPA will be able to give you a more concrete idea of
what those numbers are. Its not just hardware that can be deducted;
software is eligible too. Your Adobe Creative Cloud subscription is a
great example of software thats deductible. Just make sure you give
your transaction invoices to your CPA in Quickbooks or physical
form.

5. Dining and Entertainment

To deduct dining and entertainment expenses, you need to be able to

justify how they relate to your business. More than likely you wont
be able to claim the entire amount. When dining with clients or
colleagues, I usually claim around 50% of the cost. Ill also deduct the
cost of a wrap party for my crew after filming has concluded.
Screenings and premiere costs are also deductible. All of these
things can be seen as the cost of doing business.

3. Film & Video Production Equipment

Every piece of equipment that you purchase for your work is a

deduction during tax season. Did you purchase a new camera this
year? Thats a deduction. Did you go to B&H Photo and purchase
new lenses for that camera? Maybe a penguin case? ND filters?
Those are deductions. Or maybe you purchased new sound
equipment from Sweetwater. Deduction. Even batteries, memory

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6. Online Presence

8. Business Startup Expenses

All of us need some sort of online presence in order to build our

business. Because building this online presence is so crucial to
earning a living, you should look at deducting the cost of this
presence. Things that could apply here are cloud storage costs
(Onedrive, Google Drive, Dropbox), yearly website domain and
hosting costs, and online membership costs such as IMDB Pro. Even
the costs of website design and development are deductible.

Keep track of all the costs that you pay out to start your business
such as incorporation fees, lawyer fees, and copyright/trademark
filing fees. You can even deduct the payments made to your CPA or
financial advisor.
9. Printed Self Marketing

In addition to your online marketing, youll likely want to purchase

printed media like business cards, flyers, or brochures. These costs
are deductible as well.

7. Travel Expenses and Conferences

Expenses you incur while doing business outside of your home might
fall into the travel expenses category. Whether youre driving for five
hours or taking a flight across the country for a film shoot, these are
all deductible expenses. Be sure and keep records of everything,
including rental cars, taxi rides, and hotels. If you paid for the travel
of your crew, add that cost as well. Additionally, if youre attending a
conference like NAB or SXSW, you can deduct the attendance costs
since they pertain directly to your work.

10. Home Office Expenses

Home offices and editing rooms are loaded with potential

deductions, including the actual space you use. Other likely
deductions: desks, chairs, lamps, pens, printers, printer paper, ink
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cartridges, staples, etc. You get the idea. These may seem like small
insignificant purchases, but they add up quickly.

What Weve Learned About Tax Deductions

Deductions arent too hard to decipher, as long as they are legal and
pertain to your business. With that in mind, the most important
takeaways are: Keep immaculate records and hire a CPA. Talk to
other filmmakers that you know chances are one of them has a
CPA that they can recommend.

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SECTION 4

Get More Views: Ten Basic Tips for Posting A Video Online

Whats the point of posting video online if nobody is going to see it? Up your views with these basic tips for posting online video.
There are some very simple things that you need to get right in
order to successfully use online video to boost your business,
career, or site traffic. Some of these basic dos and donts might seem
too obvious to mention, yet people seem to get them wrong anyway.
These are the ten things Id consider vital to successfully using video
online.

chances of this happening are hugely increased by ensuring that

your video is shareable through as many avenues as possible.
Ensuring that your video can be embedded on other sites is a simple
one-click process, but publishers often seem to go out of their way
to make this impossible. Granted, keeping control over your online
content might have its advantages (usually advertising revenue if
you have to watch the video on one site only, that site will get all the
traffic), but this advantage is vastly outweighed by the extended
reach thats gained by allowing the video to spread virally.

1. Do Make it Shareable
What makes the internet such a great place to put your video is the
simple and obvious fact that a whole lot of people can see it. The

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1. The purpose and character of the use, including whether such use
is of commercial nature or is for nonprofit educational purposes

2. Add a Call to Action

Hopefully your video will be so good that people will want to do
something as a result. A call to action might be as simple as a like or
as useful as a share, but do prompt your viewers on what to do next.
If you want them to get in touch with you, then make sure its really
easy to do so. If youre hosting your video on YouTube or Vimeo,
make the most of the description area to provide all of your crucial
information. Incredibly obvious, yes. But its astounding how often it
doesnt contain much helpful information.

2. The nature of the copyrighted work

3. The amount and substantiality of the portion used in relation to
the copyrighted work as a whole
4. The effect of the use upon the potential market for, or value of,
the copyrighted work
If youre so minded, you could add a Creative Commons license to
your work in order to help others know how you would like it to be
treated.

3. Add an End Logo and Branding

Make sure your viewers know who made it. This could involve an
opaque bug in the corner of the video, which is helpful for
dissuading people from ripping your video and reposting it as their
own. Personally, I would aim for the best viewing experience for your
audience and leave that off. Just add something to the end that also
includes a memorable URL.

6. Dont Use Copyrighted Music

This is one of the biggest giveaways that a video has been produced
by an amateur filmmaker. Do yourself and everyone else a favor and
buy a track from a reputable and high quality royalty free music site,
like PremiumBeat. Theres plenty of music to choose from.

4. Track Your Stats and Shares

If your online video does find an audience, be sure to keep an eye on
the stats, shares, and other places the video ends up. The people who
liked this video might like your other videos, products, services,
work, etc. Be sure to engage anyone who comments on or shares
your work.

7. Dont Make it Overly Long.

This is a pet-peeve of mine for online video. The maxim less is more
is a reliable rule of thumb.

8. Dont Make it for Yourself

Be aware of your audience and make the video for them, not for
yourself.

5. Use Copyrighted Material But Only Under Fair Use

Guidelines

Instead of thinking How can I communicate whats so great about

my work/product/business/idea/opinion? consider What is it that
people want to know/feel/discover/buy? The next point is a
practical example of this mentality at work.

If youre going to use copyrighted material in your video, make sure

youre abiding by the Fair Use principles which most countries have
within their legal framework. In the United States, these four factors
need to be considered:

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9. Dont Give It an Obtuse Title

One of the most influential variables to the success of your online
video is the title you give it. Think like a member of your target
audience and label it in a way that would help them to find it. Think
about the kind of search terms that you Google.

10. Dont Give up After the First Go

If youve only just started making and sharing videos online, dont
give up after your first attempt. Simply improve as you go.
Incorporate feedback and suggestions and emulate the things that
you see others doing successfully.

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SECTION 5

Tips for Promoting Your Indie Film on Social Media

Creating a social media strategy is the key to building grassroots support for your film project.
Its no secret that success on social media can lead to success at the
box-office, but social media can sometimes feel unnatural and
foreign. Social media marketing is more than just creating a
Facebook page, posting images, and hoping for a following. Take the
time to develop a social media strategy and see it through. Check
out these tips for social media marketing success.

There are a lot of good online resources (Fiverr, CrowdSpring, 99

Designs) where you can inexpensively hire good designers.
Professional graphics are a great way to establish the legitimacy of
your film before you have any cast or crew onboard. If your
production is so independent that you cant afford to pay crew and
actors, a good movie poster can get potential crew members excited
about your project.

1. Hire a Graphic Designer

Start your social media journey off right by nailing the right
marketing message for your project. A graphic designer is a solid
investment for creating professional content for your marketing.

And be honest with yourself. If your Photoshop and design skills are
lacking, its best to leave this work to a professional.

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2. Examine Relevant Communities

4. Take On-Set Pictures

So youve got the basic marketing materials created: a poster, a

logline, a trailer, and a Facebook page or Twitter account. Wheres
your audience? In order for a social media strategy to be effective,
youve got to quickly develop your audience. One way to find people
that may be interested in your project is to look online for niche
communities that have to do with your films genre or subject matter.

Production photos are a great way to generate buzz around your

project. Statistics show that posts with photos receive significantly
higher engagement on Facebook and Twitter. Photo posts represent
87% of the shared content on Facebook, versus only 4% for linkbased posts.
Although you should encourage everyone on your team to take
photos, make it the responsibility of one crew member to take a ton
of behind-the-scenes shots.

Doing a horror film? Theres a Facebook page with over 1.5 million
horror film lovers. Theres a Reddit community dedicated to all
things horror with a targeted audience of another 50,000 people.
Perhaps your film deals with social issues like immigration, medicine,
or the environment. Find organizations that focus on these issues.
Whatever the genre or subject, theres an online community
dedicated to it. Find it! If they can advocate for your project, youll be
exposed to a large group of natural supporters.

5. Incentivize Your Followers

A recent change in Facebooks policies now allows you to host
promotions and collect entries through a FB post. In the same way
rewards are aimed at incentivizing Kickstarter supporters, you can
generate buzz by giving away promotional items on Facebook that
relate to your film. Randomly select a winner or encourage more
participation by asking questions.

Take advantage of Facebooks custom audiences feature to target

your postings to a relevant audience.

6. Make It a Collaborative Effort

3. Stay Consistent

Who said you have to do social media alone? Encourage your cast
and crew to interact with the films social media online. This can be
through sharing posts they find interesting or even posting their own
original content. Youre busy theres no shame in asking others for
help in this area.

It can be easy to get caught up in creating an indie-film and forget

about your online fans. The secret to keeping your audience excited
is to consistently post news and updates on your production
progress. Consistent doesnt mean you need to bombard your
audience with multiple posts daily. Just set a goal to provide updates
once or twice a week. When your production schedule becomes
absolutely grueling, there are a lot of good online tools (like
HootSuite and Tweetdeck) that can help you pre-schedule your
posts. And remember to interact with your followers social media
isnt a one way street!

7. Talk to Other Filmmakers

Get people talking about your film by being the initiator. Seek out
other filmmakers and comment on their content. Follow film
professionals on Twitter and interact. Build support for your film
project by supporting the work of others.

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SECTION 6

Five Tips for Getting Your Indie Film Into Festivals

Prepping your film for a festival run? Consider these five tips for your best chance of success.
Many filmmakers today feel that festivals can be a waste of time.
The cost of submitting to lots of festivals can be very expensive and
the chances of getting in to any given festival are very small. Not to
mention that even in a best-case scenario where your film is
programmed at a major festival, it doesnt necessarily mean
anything will come out of it with regards to distribution or
representation.

Festivals get thousands of submissions and the judges have a very

hard time rejecting many of the films that dont get in. So dont feel
bad if youve been rejected by festivals before its all part of the
process. The best thing you can do is refine your approach to give
yourself the best odds of getting in.

1. Submit To Targeted Festivals

We all want to have our films screen at Sundance and Cannes, but
what about the smaller niche festivals? While the major festivals are
certainly worth submitting to, your film might have more success at
a smaller festival where your film will truly be able to stand out. A

All that said, festivals are still arguably one of the best entry points
into the film industry if things line up just right, and they are a
fantastic way to showcase your work.

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niche festival will give you a bigger opportunity to rise to the top and
create a big buzz.

issue, consider contacting festival programmers directly and

requesting a fee waiver. Many festivals will offer this to filmmakers
on a budget, especially if you explain your case well.

2. Have a Rock Solid Logline

5. Make A Festival Worthy Film

Festival programmers rely on your logline to help them learn about

your film and decipher what programming block and genre it would
fit into. In order to give yourself the best possible shot at getting in,
you need to represent your film accurately. For instance, if your
logline is misleading and makes your film feel like a different genre, it
may be sent to the wrong programmer and it may get rejected for
the wrong reason.

Following all of these guidelines does not guarantee acceptance. If

your film isnt quite strong enough, it wont get in. Your film needs to
be well-executed on every level and suitable for a festival
environment.
For example, if youre making a short film, make it a short film. Dont
submit a thirty-minute cut; they wont be able to program your film.
Keep things down to ten minutes or so. If youre just writing a new
feature screenplay, try to write it with your festival of choice in mind.
Different festivals have different preferences for the type of content
they are drawn to, so make sure that your film is destined to be a
good fit in every possible way.

More importantly, if your logline is extremely powerful it will also

help the programming team understand how they can package and
market your film. After all, they do need to fill seats in the theatre.

3. Fill Out Your Withoutabox Profile!

Its surprising how many filmmakers dont take the time to fully
complete their Withoutabox profile. For those of you that dont
know, Withoutabox is the interface that many festival programmers
will see. Much like the logline example given above, your
Withoutabox profile is the best way to represent your film to the
judges and let them know why it would be a perfect fit for them.

In Conclusion
Regardless of how strong your film is, you still need to put yourself in
the best possible position to get your film programmed by the
festival committee.
If you submit a beautifully executed film, a strong Withoutabox
profile, and a concise logline to several targeted festivals, you will
have a much better shot of getting in.

If you can, take the time to write individualized cover letters for each
festival. Ultimately, the programmers do read them. Your chances of
acceptance can only improve with a detailed Withoutabox profile
and tasteful cover letter.

And when you do get rejected from a festival here and there, dont
worry. It doesnt mean your film was bad, it just means it couldnt be
programmed.

4. Submit, Submit, Submit

Submission fees can be very expensive, but you need to factor them
into your budget. If you want to screen at three or four festivals, you
need to be prepared to submit to at least twenty. And if money is an

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How to Market Your Film on a Small Budget

No money? No problem. Here aresome quick tips on how to market your film on a small budget.
Marketing your film is one of the most important aspects of the
filmmaking process.Your film can be the most important
independent film of the last decade, but without a good marketing
strategy, youre going to hamstring its potential. So, lets look at
some simple and easy ways to market your film on a small budget.

poster for your film, and the imagery for your website and Facebook
page.
There are countless small pieces of material that youll need. If this
is something that you have no experience in doing on your own, try
to reach out to a local artistartist.

1. Create a Marketing Materials Packet

2. Utilize the Internet and Social Media

Youre going to need marketing materials. This means youre going

to need to have a concrete brand for the film. Then youll want to
build your materials from that branding. This includes cover images
and profile images for all of your social media platforms, a movie

The easiest way to build your audience is to use the internet and its
main outlets, those being a personal website and social media

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platforms. First, letscreate a website for your film. For that youll
want to use WordPress, Squarespace, or Wix.

principal photography done. Keep it to around one minute long.

Finally, when youre in post-production,create your extended and
final trailer. This one can be between a minute and a half to just over
two minutes long.

Next, you want to utilize social media and its many platforms.For
instance, use Facebook as the primary launching point, then use your
personal Twitter account as a secondary site to keep content rolling.
Find out what works best for you. That could be any combination of
platforms including Instagram, Vine, Tumblr, etc.

5. Get Listed on IMDb

IMDb is a great resource. Whether you like it or not, it gives your film
some extra credibility when marketing it.Just note that anIMDB Pro
membership will cost you $20 a month or $149 for a year. While this
can be a steep cost, you are getting some pretty good benefits, such
as networking opportunities with millions of other film
professionals.

3. Generate Press Releases

Another really important way to market your film is to generate a
press release. In the press release, you want to give all of the most
important information about your film in a very small sample size.
You also will want to speak about yourself as the director and your
past successes or other projects youve worked on.
Once you have the press release finished youll want to send that out
to as many media outlets as possible. Also, look for websites or
organizations that generate content thats geared closely to your
subject matter. That could be anything from Science Fiction to Civil
War History. Explore all available options.

4. Create a Series of Trailers

The film production process is a long one, and you want to keep your
audience engaged. One way to do that is to create a series of trailers.
Youll want to start out with something simple, a short 30-second
teaser. It could be as simple as just having some dialogue and a logo
reveal. Or you could take a character from your film and build a short
trailer using footage that probably wont make it into the film. Just
be creative and continue to release trailers as you move through
your production process.
Again, the first trailer or two are just toget your audience interested
in the project. Release another trailer once you have a bulk of your
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