They may not have real 'talent', but if they are actors, they are called 'talent'.
That being said, real actors will make your short film so much better. Try not to use friends and family in key roles unless their last name is Streep. Believe it or not, actors like to act and it is not unusual for them to act for very little or nothing. They need stuff for their reel just like you. The process:
a. Determine what roles you need cast: Break down your script and determine roles. Put together a paragraph on each character so that potential actors have an idea about the character. Put together a one page piece of the script (a key scene or change) so that you can give an actor something to audition with. Pick a pivotal part that needs to be nailed.
b. Post the job - Use the internet or post notices at local theatres. Network, network, network and get the word out.
c. Conduct an audition - Either rent a place or use your living room. Have someone help you corral the potentials and have them read the lines. Tape it if possible.
d. Evaluate - Look at the tapes and narrow down the list.
e. Call-backs - Have the narrowed down list of actors return and read a different piece.
f. Decide - Make a pick and hire the actor.
Good actors can make a huge difference.
Tuesday, January 13, 2009
Locations - Where You Shoot It
When shooting your short film or video, there are two basic categories of places where you would shoot something: stage or location. A controlled building that is designed specifically for use in filming/taping/shooting is known as a studio or stage. Anywhere else is referred to as 'on location'.
Stage: The advantage to using a stage is that the place is designed for you to shoot on it. Most stages are basically big empty room with all of the peripheral pieces in place for most any possible configuration you would need. A good stage is built to be soundproof. A good stage has all of the electric capabilities, outlets, access ports to provide juice. A good stage has a grid from which to hang your lights. A good stage has support facilities like production offices, bathrooms, parking, big doors, construction facilities and dressing rooms.
Stages cost money. The big downfall for most productions is expense. The second downfall is the fact that a stage is a blank room. You have to build or bring in any scenery you are going to need. There is quite literally nothing there but a floor and walls. Also, you still have to acquire lights, generators, and all of your shooting equipment and bring them in. Many stages rent those things to you, but you still have to pay. Stages are nice, controlled but cost money.
Location: Anywhere else is a location. These are places that are primarily something else (a home, office, street) that you are using to shoot at. Usually, this is capture the natural look of that place (alleyway, forest). This naturalistic look is generally less expensive, but you many times still have to pay to rent the area. You still need to bring all of your equipment and gear in order to shoot.
Locations look good, but aren't controlled. Locations can be cheaper, but may not. Free locations aren't always free.
Stage: The advantage to using a stage is that the place is designed for you to shoot on it. Most stages are basically big empty room with all of the peripheral pieces in place for most any possible configuration you would need. A good stage is built to be soundproof. A good stage has all of the electric capabilities, outlets, access ports to provide juice. A good stage has a grid from which to hang your lights. A good stage has support facilities like production offices, bathrooms, parking, big doors, construction facilities and dressing rooms.
Stages cost money. The big downfall for most productions is expense. The second downfall is the fact that a stage is a blank room. You have to build or bring in any scenery you are going to need. There is quite literally nothing there but a floor and walls. Also, you still have to acquire lights, generators, and all of your shooting equipment and bring them in. Many stages rent those things to you, but you still have to pay. Stages are nice, controlled but cost money.
Location: Anywhere else is a location. These are places that are primarily something else (a home, office, street) that you are using to shoot at. Usually, this is capture the natural look of that place (alleyway, forest). This naturalistic look is generally less expensive, but you many times still have to pay to rent the area. You still need to bring all of your equipment and gear in order to shoot.
Locations look good, but aren't controlled. Locations can be cheaper, but may not. Free locations aren't always free.
Shot Sheet - Your Schedule for the Shoot Day
Shot sheet - The Shot Sheet is a schedule detailing all of any days shooting. The shot sheet is a minute-by-minute roadmap of the production day.
The shoot day needs to be planned out to the minute in order to efficiently maximize your shooting time. If you do not construct a shot sheet, you run the risk of overrunning on your available time. Time is money.
A good director will plan to shoot much more than he/she possibly has the time to get.
The goal of the shot sheet is to prioritize all of your shots so that you are sure to get everything you need. Anything extra is gravy.
The shot sheet is put together in cooperation with the producer, director and assistant director. Since it is the job of the assistant director to monitor and stay on schedule, the AD is the lead on this task. The AD plots out the order of each set-up, the order of each shot and the timing. It is the job of the AD and any assistants to coordinate with the art department on the next set-ups, the ushering of talent on and off set, the coordination with the camera department to make sure the proper gear and equipment moves from place to place in time to accommodate the shooting needs of the director.
A typical shot sheet has the following elements:
•First Meal & timing.
•Prep time at the first set-up
•The shooting time at the first set-up
oA list & timing of each angle
oA list & timing of the transition time between each angle
•The time it takes to move to the second set-up and begin shooting (x the number of set-ups on this day)
oA list & timing of each angle
oA list & timing of the transition time between each angle
•Lunch meal & timing.
•(Repeat for the number of set-ups being careful to make the times realistic and doable).
•Clean-up and wrap-out time.
•End of day (taillights)
It is industry standard to allow food breaks every six hours. Either provide food or allow the crew to go and come back (this is called ‘walk-away’ meals). It’s easier to keep the crew corralled and manage the start-up time if you feed the crew, but you may not be able to afford to do so.
The shoot day needs to be planned out to the minute in order to efficiently maximize your shooting time. If you do not construct a shot sheet, you run the risk of overrunning on your available time. Time is money.
A good director will plan to shoot much more than he/she possibly has the time to get.
The goal of the shot sheet is to prioritize all of your shots so that you are sure to get everything you need. Anything extra is gravy.
The shot sheet is put together in cooperation with the producer, director and assistant director. Since it is the job of the assistant director to monitor and stay on schedule, the AD is the lead on this task. The AD plots out the order of each set-up, the order of each shot and the timing. It is the job of the AD and any assistants to coordinate with the art department on the next set-ups, the ushering of talent on and off set, the coordination with the camera department to make sure the proper gear and equipment moves from place to place in time to accommodate the shooting needs of the director.
A typical shot sheet has the following elements:
•First Meal & timing.
•Prep time at the first set-up
•The shooting time at the first set-up
oA list & timing of each angle
oA list & timing of the transition time between each angle
•The time it takes to move to the second set-up and begin shooting (x the number of set-ups on this day)
oA list & timing of each angle
oA list & timing of the transition time between each angle
•Lunch meal & timing.
•(Repeat for the number of set-ups being careful to make the times realistic and doable).
•Clean-up and wrap-out time.
•End of day (taillights)
It is industry standard to allow food breaks every six hours. Either provide food or allow the crew to go and come back (this is called ‘walk-away’ meals). It’s easier to keep the crew corralled and manage the start-up time if you feed the crew, but you may not be able to afford to do so.
Equipment - Gear You May Need to Get It Done
Equipment
You are going to need equipment to shoot your short film or video. Even if it your cousin’s camcorder, you are going to need something. The more gear you have, the better the odds that you can capture a nicer, crisper, better imagery for your final product.
There are three categories of equipment you are going to need: camera, lights, and sound. The first step is to ascertain what you would like and afford to acquire.
Camera – Many directors prefer to shoot their work on film. Film looks spectacular (when shot correctly), looks polished (when shot correctly), and looks professional (when shot correctly). There are a couple of rubs to using film. First, it costs money. No matter what, you’ll need to rent a film camera. Even if you have favors to burn and can get a loaner camera for free, you’ll still need to buy the film to load into the camera. Even if you know some dude who’s been collecting rolls of short ends over the years and is willing to give you the film for free, you need to pay to have it developed at a processing lab. Even if you know a guy pulling the nightshift at Kodak who’s willing to sneak your film into the batch for another job, you’ll still need to pay to get it transferred from film to digital so that you can edit. Even if…
You get the idea. Film cameras are specialized equipment that is very expensive to purchase and to upkeep so you are going to have to rent a camera. You are going to have to buy film stock to load into the camera. You are going to have to pay to get the film processed. You are going to have to pay to get the film transferred to videotape. For most people, these are going to be hard costs that are hard to get around. Not to mention that film needs to be shot by an experienced cinematographer and loaded with specialized gear and shot using specialized lens’. Film cameras look great but cost money. The decision is yours.
Digital formats (miniDV and HD) are acceptable formats and can deliver good crisp images for the price. Many TV shows and some movies are now shot digitally, so it is possible to get a nice look. The prices are cheaper but can still cost a good bit depending upon the gear you rent. If you choose to rent specialized digital gear, it is good practice to have a knowledgeable camera operator on your crew.
Using film or digital, it is a good hint to rent a set of film lens’ to improve the look. Again, renting lens’ (and a crew person to handle these specialty items) costs money.
It is the opinion of the Pickle that investing in camera gear is one of the smartest ways to spend your money.
Lights – Even if you cannot get a nice camera, it is possible to achieve a better than average look with the careful use of lights. Just lighting as opposed to not lighting will step your work up a notch. Cameras are hungry for light, especially cheaper ones. If you can’t afford the camera gear, throw some dough at a set of lights.
In fact, if you are shooting with film, light is essential. Even if you are shooting in sun outdoors, you will most likely need reflectors and blinds to control the available light. If shooting film, your cinematographer will educate you on what he/she would need to properly bring your vision to life.
On big productions, the group responsible for lighting is called the ‘electric department’. The head of the electric department (the chief lighting technician) is known as the ‘gaffer’. On your small production, the electric department is probably known as ‘Earl’.
Also on big productions, there is going to be more specialized rigging of reflectors, diffusers and blinds. The group who sets-ups and operates this gear is called the ‘grip department’. The head of the grip department is called the grip department. On your small production, the grip department is probably called ‘my unfortunate cousin Karl’
Specialty Gear
If you have the dough, you have the connections, and can pull it off, at this point you may want to consider raising your production value with the use of additional equipment. The following are some of the tools of the trade you may be able to use to enhance your piece:
Dolly – A dolly is nothing more than a platform that you can use to move the camera in space. Simple dollies are nothing more than boards with rubber wheels. Fancier dollies come with track and accessories for an even smoother movement. There is nothing more cinematic than a dolly move. Some have effectively used wheelchairs, shopping carts and skateboards for dollies (the low rent version of the dolly!) but try and squeeze in the equipment if you can afford it.
Steadicam - Another version of the dolly is a steadicam. The steadicam is a special mount that an operator wears that can achieve smooth movement (like stairs and around obstacles). More expensive to use a steadicam because most set-ups require a separately trained operator who has their own gear and works exclusively with it.
Jib arm – The jib is a long pole upon which you mount the camera. The pole will rotate upwards (like a crane or lever) so that you can get sweeping shoots with some height.
Sound – Most productions need to record sound. Do not forget that every final piece is a combination of image and sound, so the sound part is ½ of final product. Quite frankly, many people look at the sound as an afterthought. They pay little attention to it, concentrating on fancy camera moves and lighting. This is a mistake. This is the kind of mistake that amateurs make.
When possible, bring on a trained sound person. A real sound dude generally has his own equipment and is prepared for all contingencies.
Even if you have a professional and certainly if you do not, the key to getting good sound can be summed up in one word: headphones. Listen to what is going onto the recording. Listen to it again after you have recorded it. Make sure it sounds exactly the way you want.
Take the time, energy and effort to make sure you are putting your microphones in a place where you can capture good, clean audio. If you have a conversation between two people, make sure both have microphones.
Do not move on with crappy audio. Make sure the sound is good before moving on. Listen to the playback before moving on. Shall I repeat it?
You are going to need equipment to shoot your short film or video. Even if it your cousin’s camcorder, you are going to need something. The more gear you have, the better the odds that you can capture a nicer, crisper, better imagery for your final product.
There are three categories of equipment you are going to need: camera, lights, and sound. The first step is to ascertain what you would like and afford to acquire.
Camera – Many directors prefer to shoot their work on film. Film looks spectacular (when shot correctly), looks polished (when shot correctly), and looks professional (when shot correctly). There are a couple of rubs to using film. First, it costs money. No matter what, you’ll need to rent a film camera. Even if you have favors to burn and can get a loaner camera for free, you’ll still need to buy the film to load into the camera. Even if you know some dude who’s been collecting rolls of short ends over the years and is willing to give you the film for free, you need to pay to have it developed at a processing lab. Even if you know a guy pulling the nightshift at Kodak who’s willing to sneak your film into the batch for another job, you’ll still need to pay to get it transferred from film to digital so that you can edit. Even if…
You get the idea. Film cameras are specialized equipment that is very expensive to purchase and to upkeep so you are going to have to rent a camera. You are going to have to buy film stock to load into the camera. You are going to have to pay to get the film processed. You are going to have to pay to get the film transferred to videotape. For most people, these are going to be hard costs that are hard to get around. Not to mention that film needs to be shot by an experienced cinematographer and loaded with specialized gear and shot using specialized lens’. Film cameras look great but cost money. The decision is yours.
Digital formats (miniDV and HD) are acceptable formats and can deliver good crisp images for the price. Many TV shows and some movies are now shot digitally, so it is possible to get a nice look. The prices are cheaper but can still cost a good bit depending upon the gear you rent. If you choose to rent specialized digital gear, it is good practice to have a knowledgeable camera operator on your crew.
Using film or digital, it is a good hint to rent a set of film lens’ to improve the look. Again, renting lens’ (and a crew person to handle these specialty items) costs money.
It is the opinion of the Pickle that investing in camera gear is one of the smartest ways to spend your money.
Lights – Even if you cannot get a nice camera, it is possible to achieve a better than average look with the careful use of lights. Just lighting as opposed to not lighting will step your work up a notch. Cameras are hungry for light, especially cheaper ones. If you can’t afford the camera gear, throw some dough at a set of lights.
In fact, if you are shooting with film, light is essential. Even if you are shooting in sun outdoors, you will most likely need reflectors and blinds to control the available light. If shooting film, your cinematographer will educate you on what he/she would need to properly bring your vision to life.
On big productions, the group responsible for lighting is called the ‘electric department’. The head of the electric department (the chief lighting technician) is known as the ‘gaffer’. On your small production, the electric department is probably known as ‘Earl’.
Also on big productions, there is going to be more specialized rigging of reflectors, diffusers and blinds. The group who sets-ups and operates this gear is called the ‘grip department’. The head of the grip department is called the grip department. On your small production, the grip department is probably called ‘my unfortunate cousin Karl’
Specialty Gear
If you have the dough, you have the connections, and can pull it off, at this point you may want to consider raising your production value with the use of additional equipment. The following are some of the tools of the trade you may be able to use to enhance your piece:
Dolly – A dolly is nothing more than a platform that you can use to move the camera in space. Simple dollies are nothing more than boards with rubber wheels. Fancier dollies come with track and accessories for an even smoother movement. There is nothing more cinematic than a dolly move. Some have effectively used wheelchairs, shopping carts and skateboards for dollies (the low rent version of the dolly!) but try and squeeze in the equipment if you can afford it.
Steadicam - Another version of the dolly is a steadicam. The steadicam is a special mount that an operator wears that can achieve smooth movement (like stairs and around obstacles). More expensive to use a steadicam because most set-ups require a separately trained operator who has their own gear and works exclusively with it.
Jib arm – The jib is a long pole upon which you mount the camera. The pole will rotate upwards (like a crane or lever) so that you can get sweeping shoots with some height.
Sound – Most productions need to record sound. Do not forget that every final piece is a combination of image and sound, so the sound part is ½ of final product. Quite frankly, many people look at the sound as an afterthought. They pay little attention to it, concentrating on fancy camera moves and lighting. This is a mistake. This is the kind of mistake that amateurs make.
When possible, bring on a trained sound person. A real sound dude generally has his own equipment and is prepared for all contingencies.
Even if you have a professional and certainly if you do not, the key to getting good sound can be summed up in one word: headphones. Listen to what is going onto the recording. Listen to it again after you have recorded it. Make sure it sounds exactly the way you want.
Take the time, energy and effort to make sure you are putting your microphones in a place where you can capture good, clean audio. If you have a conversation between two people, make sure both have microphones.
Do not move on with crappy audio. Make sure the sound is good before moving on. Listen to the playback before moving on. Shall I repeat it?
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