Putting it all to use:
None of the mechanics of filmmaking we've covered would do any good if you can't put them to good use and create a movie. Script writing isn't covered here, there are much better writers out there then me who can help you. Story by Robert McKee is an excellent source. So for now we're assuming you have a good story and a good script. Or if your script isn't great that's okay. You can't expect your first attempt at something as large and complex as a movie to come out perfectly. Consider that you are still learning and budget your resources and expectations accordingly.
But back to making your movie-
A movie tells its story through a series of scenes. For each of these scenes you need to be able to answer what information the audience is supposed to receive, what they are supposed to understand and what they aren't meant to understand (very important in creating intrigue), and most importantly what are they supposed to feel? The good news is you already know how to do that.
Everything we've talked about has been linked back to what it transmits to the audience. Now its time (if you haven't already) to put all of the techniques you've experimented with and apply them to telling a story. Take a scene you have a script for and decide what the audience should feel: fear, excitement, romance, sadness, tension, relaxing, etc. Imagine how you will create that effect visually and audibly. This is the process we're going to discuss next:
But back to making your movie-
A movie tells its story through a series of scenes. For each of these scenes you need to be able to answer what information the audience is supposed to receive, what they are supposed to understand and what they aren't meant to understand (very important in creating intrigue), and most importantly what are they supposed to feel? The good news is you already know how to do that.
Everything we've talked about has been linked back to what it transmits to the audience. Now its time (if you haven't already) to put all of the techniques you've experimented with and apply them to telling a story. Take a scene you have a script for and decide what the audience should feel: fear, excitement, romance, sadness, tension, relaxing, etc. Imagine how you will create that effect visually and audibly. This is the process we're going to discuss next:
Planning Shots– Preproduction Work:
A Shooting Script: Where the Shots and Equipment are all mapped out.
Preparation will make the biggest impact on your film.
It’s a good idea to plan out all of your shots ahead of time. This benefits you in two ways. First it puts you in a mind set to envision your film in the best way possible. This is incredibly important. Once you've filmed and edited your footage, what you have has the potential to last FOREVER. You'll get to watch any mistakes or shortcomings your footage has hundreds of times before you've finished post production. Its worth it then to put some forethought into how your movie will be shot.
In simple terms, for every shot or sequence of shots or an entire scene, ask yourself what is the best possible way to film it. Yes what you image may have to be tempered by the restrictions of your budget and resources, but it shouldn't be limited by your creativity. Think of the best way you can do each shot and your film will be all the better for it. It is also a good way to get yourself excited about what you're doing which will go a long way with the length of the task ahead of you in making a movie. Nobody wants to put a lot of effort into something that isn't very good. But if you're creating the best film you can, you'll find yourself very motivated.
It’s a good idea to plan out all of your shots ahead of time. This benefits you in two ways. First it puts you in a mind set to envision your film in the best way possible. This is incredibly important. Once you've filmed and edited your footage, what you have has the potential to last FOREVER. You'll get to watch any mistakes or shortcomings your footage has hundreds of times before you've finished post production. Its worth it then to put some forethought into how your movie will be shot.
In simple terms, for every shot or sequence of shots or an entire scene, ask yourself what is the best possible way to film it. Yes what you image may have to be tempered by the restrictions of your budget and resources, but it shouldn't be limited by your creativity. Think of the best way you can do each shot and your film will be all the better for it. It is also a good way to get yourself excited about what you're doing which will go a long way with the length of the task ahead of you in making a movie. Nobody wants to put a lot of effort into something that isn't very good. But if you're creating the best film you can, you'll find yourself very motivated.
A Story Board Sequence
The second thing preproduction does for you is it gives you a good base for the mechanics of your production. This free you up on set to deal with other things and to incorporate and try new ideas that may come up on set while you film. If the ideas you have on the spot don’t work out, you still have your planned production which you have prepared for.
Planning out your shots will make it clear to you what equipment, actors, lighting, etc., you’ll need for your shoots.
Although many of the best ideas happen on set, if you don’t plan ahead of time, you’re more likely to run into a problem you aren’t equipped to deal with.
Planning out your shots will make it clear to you what equipment, actors, lighting, etc., you’ll need for your shoots.
Although many of the best ideas happen on set, if you don’t plan ahead of time, you’re more likely to run into a problem you aren’t equipped to deal with.
Many beginning film makers think that you just show up on set and work things out. But all this really ends up in is a colossal waste of time to many of the people who agreed to work on your film. To put it into professional terms: What if you get your cast (all paid) out to a location (which you payed to film at) with a full crew (at union wages) and you spend the entire day “figuring it out” and don’t come up with anything good. You just wasted hundreds of thousands of dollars.
This can all be avoided with preparation.
This can all be avoided with preparation.
The Dragging Shot is tested while not in motion.
Besides planning your shots, you should also spend time at the location a head of time and quickly run through your shots to make sure they are going to work. Often you may find, especially on real locations, that certain angles may not be possible because of physical obstacles there. And just to get a sense of how what you planned is going to translate into reality.
This is also a good chance to test your lighting. There’s no need to have actors stand around on a shoot day while you decide where the best place to put a light is. Test it out ahead of time so you can spend your time on set working with the actors.
The director and producer can do all of these things with just the two of them days before the actual shout. In general its good to know what you need people to help with and what you don’t so that you can get things done ahead of time and not waste other people’s time.
This same concept carries over into filming. If you will be shooting a scene on a particular day with 4 actors, but one of them is only in two shots briefly, arrange a time with that actor a head of time to d those two shots together so they don’t have to wait around doing nothing all day until their shots come up. For instance have them arrive in the morning and get their sots done first and then they are free to leave.
In general let actors and crew know exactly when they’ll be needed so they’re not waiting around all day needlessly.
Being considerate towards the cast and crew can go a long way.
This is also a good chance to test your lighting. There’s no need to have actors stand around on a shoot day while you decide where the best place to put a light is. Test it out ahead of time so you can spend your time on set working with the actors.
The director and producer can do all of these things with just the two of them days before the actual shout. In general its good to know what you need people to help with and what you don’t so that you can get things done ahead of time and not waste other people’s time.
This same concept carries over into filming. If you will be shooting a scene on a particular day with 4 actors, but one of them is only in two shots briefly, arrange a time with that actor a head of time to d those two shots together so they don’t have to wait around doing nothing all day until their shots come up. For instance have them arrive in the morning and get their sots done first and then they are free to leave.
In general let actors and crew know exactly when they’ll be needed so they’re not waiting around all day needlessly.
Being considerate towards the cast and crew can go a long way.
Learning on Your Own
When you find a movie you like, or a movie in which you feel the director did a good job in some area, go back and study what the director did to create what it was that you liked in the film.
Pick out what the theme and Character Arc of the movie was. How did the major events in the movie lead to it? How are these events arranged into scenes? How are those scenes filmed; break them down into shorts and turn those into storyboards. Notice how the actors were placed in the frame and how the setting was handled.
When you study a film, watch it first just as you would any movie. Don’t break it down. You’ll need to experience it as an average movie goer would. Then write down what the story was about, how it affected you and how you think the film makers did that. Then go back and watch the movie again, this time taking note of exactly how the movie was filmed, especially when its different from what you remember from your first viewing.
Some helpful tips:
To better study the visuals of a film, watch the scene with the sound turned off.
And to study the sound, close your eyes when you listen to a scene, you will hear and be aware of much more.
Pick out what the theme and Character Arc of the movie was. How did the major events in the movie lead to it? How are these events arranged into scenes? How are those scenes filmed; break them down into shorts and turn those into storyboards. Notice how the actors were placed in the frame and how the setting was handled.
When you study a film, watch it first just as you would any movie. Don’t break it down. You’ll need to experience it as an average movie goer would. Then write down what the story was about, how it affected you and how you think the film makers did that. Then go back and watch the movie again, this time taking note of exactly how the movie was filmed, especially when its different from what you remember from your first viewing.
Some helpful tips:
To better study the visuals of a film, watch the scene with the sound turned off.
And to study the sound, close your eyes when you listen to a scene, you will hear and be aware of much more.
EXPERIMENT!
Try things. Even when you don’t have a movie to film, take a camera out and film something just to test a technique. Challenge yourself. Try taking a mundane task and filming it in such a way to make it look exciting.
If you are working on a full movie, shoot test scenes. Try different camera techniques and styles of shooting. If your ideas don’t work, its no big deal. Perhaps while shooting your test, you’ll think of something else that will work. If the test does work, you’ll have a chance to think about how to make it even better when you do it officially in your movie.
The more you “play” with the camera, the better you’ll be with it, thinking of visuals in terms of shots and scenes.
If you are working on a full movie, shoot test scenes. Try different camera techniques and styles of shooting. If your ideas don’t work, its no big deal. Perhaps while shooting your test, you’ll think of something else that will work. If the test does work, you’ll have a chance to think about how to make it even better when you do it officially in your movie.
The more you “play” with the camera, the better you’ll be with it, thinking of visuals in terms of shots and scenes.