Smaller is better – if you are shooting this yourself, every extra character, location, and special effect will need to be financed and figured out at some point. What genre are you aiming for? Comedy? Sci-fi? Drama? Once you know your genre you can start thinking of plots and characters that fit it. What are movie combinations that you haven’t seen? While it seems childish, almost all movies and TV are hybrids of other movies, TV, and genres. For example, Twilight is Vampire + Romance Novel. Have you seen a good comedic western? What about a stoner sci-fi? How can you match your interests in unexpected ways? Where do you have experience? Can you comment on the day-to-day life of an office worker in an original way? Do you know more about disc golf than anyone else? Is there a movie in these experiences somewhere?[1] X Research source Look up “log-lines” for your favorite movies for inspiration. These are similar one sentence synopsis of movies used to sell the script to movie executives. You can search 1000’s of them online.
Are round. This means that they have multiple facets, not just an “angry man,” or “strong heroine. " Round characters have strengths and weaknesses, which make them relatable to the audience. Have desires and fears. Even if there is only one of each, a good character wants something but is unable to get it. Their ability or inability to get over their fear (of being poor, of being alone, of space aliens, of spiders, etc. ) is what drives their conflict. Have agency. A good character is not whipped around because your script needs them to go somewhere. A good character makes choices which push forward the plot. Sometimes this is only one choice that drives everything else (Llewellyn, No Country for Old Men), sometimes it is a series of good/bad choices in every scene (American Hustle). [2] X Research source
The Set-Up: Who are your characters, where do they live, and what do they want? This is the first 10% or less of your movie. The Change of Plans/Opportunity/Conflict: Something happens that sets your conflict in motion – Erin Brockovich gets a job, the school of Superbad throws a party, Neo is introduced to The Matrix, etc. This is roughly the 1/3 mark of your script. The Point of No Return: Up until this point, the characters are working hard to make their goals a reality. But, at the halfway point of the movie, something happens to make it impossible to turn back. A Bond villain attacks again, the Gladiator arrives in Rome, Thelma and Louise rob their first store, etc. The Major Set-Back: Since the point of no return the stakes have gotten higher. To the characters and audience, all hope seems lost. This is when the girl and guy break-up in every romantic comedy ever made, when Ron Burgundy gets fired in Anchorman, and when John McClane is beaten and bloody in Die Hard. This comes at the 75% mark of your story. The Climax: The characters make one last, all-out push to reach their goals, culminating in their biggest challenge of all. This is the run through the airport moment, the final holes in Caddyshack, or the showdown between hero and villain. Once resolved, the last 10% of the script ties up loose ends and shows the aftermath of the climax. [5] X Research source
Give yourself some notes on things like setting, scenery, and actors, but focus mainly on the dialogue. You’ll be making the other decisions later, when you have cameras, actors, and locations. Prepare yourself for rewrites as well. It is nearly impossible to get all of your moments – characters, plots, themes, jokes, etc. – right in the first run through. Once you’re done, return to the script and try and read it objectively. Would you watch this movie?
Ask the actors/friends what they thought. Where did they get confused, what did they love? Ask them if they felt like their character was well thought out and consistent. Try not to play a part and just listen. Do you hear your movie coming to life? Does it sound like you hoped it would? You want to hear these moments now, not when the cameras turn on. [7] X Research source
Cameras: Of course, you could never film a movie without a camera. For most movies, you need at least 2 cameras, and preferably 3. That said, modern camera advancements have made it possible to film a movie with an iPhone 6, so you don’t have to drop big bucks anymore. The most important thing for a professional film is to have cameras that shoot in the same format (1080i, for example), otherwise the video quality will change subtly with every cut. If you’re on a budget, you can usually get away with using your phone or a standard DSLR camera. [8] X Expert Source Kendall PayneWriter, Director, & Stand-up Comedian Expert Interview. 3 April 2020. Microphones: If you’re in a bind, spend your money on audio equipment: audiences are proven to notice bad sound before bad video. While you can use the attached camera microphones if you must, a Tascam or shotgun mic is always a worthwhile investment. [9] X Research source Lighting: If you can get a get great 3-5 piece lighting kit, use it. These lights have a variety of functions and settings that help you light any situation imaginable. However, 5-10 cheap clamp lights and extension cords have lit many an indie film. All you need are lights and different light bulbs (tungsten, frosted, LED, etc. ) to customize your scene. [10] X Research source Essential Accessories: Depending on the movie, you’ll need memory cards, a backup hard drive, tripods, light reflectors, extension cords, black tape (to cover or tape down wires), and computer video editing software. [11] X Research source
Each frame you draw becomes your shot list – a detailed book filled with every camera angle you need to capture to tell your story. Once your storyboard is finished, copy it and put it into a binder for later reference. Make notes of cuts and transitions, and essential sound-effects. These drawings don’t have to be art, they have to tell the story of your film visually. [13] X Research source These may feel tedious, but they will save you time on set, which quickly gets expensive.
Equipment that you don’t currently own. Props, costumes, and locations (such as renting out a ballroom or restaurant). Crew and actor fees. It is possible to get crews and actors for free, but it rare to get people to help for more than 1-2 days without pay. You might be able to offer favors in return for them helping you out on a shorter production. [14] X Expert Source Kendall PayneWriter, Director, & Stand-up Comedian Expert Interview. 3 April 2020. Food and transportation costs for you, the crew, and the actors. Know that, for a “professional” shoot, with paid crew and actors, you should budget, at minimum, $5,000 a day.
Director of Photography (DP): Arguably the most important job, they are in charge of cameras and lights. While you direct the actors and give the final say on the shot, they handle the technical aspects of the film. You need someone who understands lenses, cameras, and lighting, even if it is just a friend who is into photography. It is very, very hard to effectively light a scene, place, cameras, watch actors, and set the scenery at the same time, so get someone who can take some of the load off you and allow you to direct. Assistant Director (AD): Schedules the shots, makes sure the shot list is covered, films small scenes if the director is occupied. May help budget as well. Camera and microphone operators: Self-explanatory, but essential. You can’t make a film without them. Make-up Artist: While anyone can do this, their main job is continuity. Unless a lot of time goes by in your film, you need the actor’s face and costumes to look identical in every single scene, otherwise the audience will notice the changes. Take pictures every day of the costume, make-up and scenes to make sure it looks the same. Sound Engineer: Listen to all the sound as it is being recorded, ensuring that it is right. They also place the microphones to pick up dialog after the lights have been placed. Line Producer: Checks out locations ahead of time, makes sure permits and contracts are written and signed. Production Assistant: Always useful, these people do whatever needs to be done– preparing food and coffee, wiping memory cards, and even holding a camera when needed. You can never have enough crew members.
Contracts are, paradoxically, a great way to preserve friendships. Instead of arguing over something later, you can simply return to what you already have in writing. Make sure to have a provision, especially for actors, that requires them to finish the film once they begin shooting.
What scenes all take place at the same location? Can you film them, even if they are out of order, on the same day? What scenes have massive shot lists? Getting these done first can ensure you get the “big” scenes the way you want them. Are any shots expendable if time/money is running short? Put these last. This schedule may, and likely will, have to be fluid. But the more you can stick to it, the better.
Review the day’s shot list. What do you need to get, and what can you cut if you run out of time? Rehearse with the actors. Make sure they know their lines and how you want them played. Review lighting and camera choices with the DP. [16] X Research source
Give out the day’s schedule in advance so everyone is prepared. Let the crew know about any special effects or moods you are going for and how they can help create them. Review your shooting procedure so that everyone knows their role.
Keep this as simple as possible– walking in straight lines, basic entrances and exits, and mostly still positions. It is not a play and the cameras will only capture a small fraction of the entire scene. Let the camera do the movement whenever possible, not the actors. Tape can be placed on the floor to tell the actors where to end up after every shot. You can often pre-plan using crew-members or a detailed shot list to save time. If you have the blocking already written out, your shoot will be much more productive.
Establishing shots, or masters: Establishing shots contain all the action of the scene – the speaking characters, the set, and the movements. They are long, wide shots that, if anything went wrong, you could use to film the entire scene, as they capture everything. 2-shot (2-cameras): One camera over each actors shoulder, pointing at the other actor. This way you get to look at each character as they talk. When filming 3 or more actors, try and block it out so that you have 2 characters in the frame at once – this way you only need one camera to capture their dialog. Watch some of your favorite movies with a discerning eye. How, for example, would a movie capture a dinner date between 2 people? You’ll notice these three camera angles (one of both of them + the table, one of the guy, one of the girl) more than any other set of shots.
Put your camera in black and white to see just the lightness of the image. If it is still an interesting shot in black and white, it will look incredible in color. The hour and a half around sunrise and sunset is considered the best time to shoot in natural light. The lighting is soft and even, and you can even use this time to illuminate “nighttime” shots, which are dimmed later on in post-production. [17] X Research source Use “practicals,” or in-scene lights. Having trouble getting the light right? Stick a lamp in the shot, or turn on the ceiling lights. [18] X Research source
“Everyone this is picture, quiet please!” “Roll sound!” This is the cue to start microphones. When done, someone yells, “Rolling!” “Roll Picture!” This is the cue to start cameras. When done, someone yells, typically, “Speed!” Read off the title, scene, and take number, “[your movie name], Scene [scene number], Take [take number]. " If you have a clapboard, it is slapped and someone shouts “Marker!” 3-5 seconds of silence. “ACTION!"[19] X Research source
Do the characters talk about the cake on the table? Then you need a shot of just the cake on the table. Do you need to show what time it is? Then you need a shot of the clock on the wall. [21] X Research source
You can never have enough B-roll. When you’re editing, this is the connective tissue that holds your scenes together to make a legitimate movie. You can, and should, shoot B-roll before and after a scene “ends,” as these 2-3 seconds are a great way to bring the audience into the scene slowly. [22] X Research source
Most professionals use more than one backup, copying all the footage to at least two sources before erasing anything on the memory cards. Take this time to organize your footage as well. Make a folder for the day you shot, then organize the footage in that folder by scene. This will make shooting much, much easier.
Free software, like iMovie and Windows Movie Maker, is really only useful for small movies, usually anything under 20 minutes. They aren’t designed to handle a lot of video and camera angles and have a limited number of transitions and options for effects. Paid Software is necessary for any aspiring filmmaker. If you use multiple cameras on a scene, need smooth text, transitions, or effects, or simply want a professional-grade program, you need to invest in good software. Currently, the three “industry-standard” programs are Avid, Final Cut X, and Adobe Premier, and each comes with a hefty price tag, often $400 or more. You can often, however, subscribe to these programs for a small monthly payment.
If you have multiple cameras on the same scene, use your program’s “Sync” option to line all of them up together. Find your programs “multi-camera editing mode,” which makes it easy to switch between multiple shots simultaneously, by searching for “[Your Program] Multi-Cam Edit” online. This matches up all the cameras so that you don’t have to spend hours making sure each cut is in time with the last shot. [23] X Research source
The Establishing Shot: This is by far the most common way to start a scene. This shot shows all the main actors, the scene, and the location at one time. This allows the audience to get a feel for the scene, and they can then follow along with the rest of the cuts to come. Character Focused: Whether they say the first line or not, following the main character of the scene the tells the audience that this is the person they need to pay attention to – something will happen to them or they will have some realization. Setting the Scene: Use B-roll and shots of the room/environment to get a feel for the location. This is used in a lot of movies, particularly horror, where a scene might start with 5-6 creepy shots of a haunted house of dangerous room.
The best character to show in a scene is usually a matter of feel. Who does it feel like needs to be the focus of the line? Does an actor give a particularly good expression or reaction to something? Where would your eyes go if you were sitting in the room with the actors?
There is no right way to edit a scene, as long as you remember that you are trying to tell the story above all else. Let the images do the talking as much as possible.
Comedic, action oriented, or high-energy scenes have very quick timing. There are not a lot of spaces between the lines, and the words almost fall over each other to come out. This makes the scene feel quick and lively. Tense scenes are usually slower. Pauses are drawn out, B-roll is used heavily, and shots are held for a long time to make the viewer uncomfortable. For a master-class in slow editing, watch 12 Years a Slave, particularly the hanging scene in the middle of the movie. It takes a human brain 3-5 frames to recognize an image. This means that, if you’re trying to be too quick with things, you may just confuse the audience. [26] X Research source
Hard Cut– an immediate cut to another angle, usually in the same scene. This is the most common cut in film. Smash Cut- An abrupt shift to completely different scene. This calls attention to the cut, often signalling a surprise or big shift in the plot. Jump Cut– An abrupt cut made within the same scene, often of a slightly different angle. These are rare, and usually show confusion or the passing of time. J-Cut– When you hear the audio from the next shot before you see the video. This is a great way to link two scenes thematically, or provide narration. L-Cut– When you see the video from the next shot before you hear the audio. This is a great way to show a character talking about something, like a promise, then doing it (or breaking it). Action Cut– A cut in the middle of an action, like someone opening a door, that “hides” the cut in the action. For example, one character could move in for a kiss, and as their head crosses the screen you cut to the head entering the screen of another angle, usually the person about to be kissed. [27] X Research source
This is a good time to ask a friend to watch the movie with you. Do they get everything that’s going on? Are there any plot points that are lost in the shuffle and need more time? Any that are over-explained and can cut away? In general, the more you cut, the better the movie. If a scene isn’t working, and it doesn’t add anything useful to the plot, get rid of it.
There are many studios that, for a small fee, can be paid to do professional color correction and sound mixing. If you are unsure how to do this and want a professional movie, you should absolutely pay for professional color grading and sound mixing. [28] X Research source
