P R E M I U M C O N T E N T

DIGITAL
FILMMAKING
S I M O N C A D E

Digital Filmmaking I 1
 DIGITAL
FILMMAKING

Table of contents

Pre-production

IDEAS & WRITING 3 / CASTING 6 / CREW 8 / LOCATIONS 10

FUNDING & PITCHING 12 / BUDGETING 19 / EXPOSURE & SETTINGS 22

Production

CAMERAWORK 28 / LIGHTING 33 / MOVEMENT 38 / AUDIO 41

DIRECTING 43 / PROPS, COSTUME & DESIGN 48 / LOGISTICS & SAFETY 52

Post-production

EDITING 56 / SOUND 60 / MUSIC 64 / COLOR GRADING 66

PUBLISHING & MARKETING 69

Digital Filmmaking I 2
 1.1 IDEAS & WRITING

THE REALIZATION

There’s a hurdle that every creative person will Every time I speak to a creative person about
face. In the early days of a project, we may have this, I take great comfort in their response. We
a care-free attitude and lots of blissful optimism; all think these thoughts, and we most certainly
but as we develop our skills and start to refine all have these doubts. Deep down, we know
our craft, we start to realize how much more that it takes time to learn our crafts, and we
there is to learn. cannot expect to become a creative genius after
only three months. We know that perfection is
“My ideas are too dull, too shallow, too pretentious, too
impossible, but while we know to moderate our
obvious, too elementary.” expectations, we’re both resentful and grateful
for the part of us that still wants to chase
“I don’t have the skills or the talent to pull this off.”
perfection nonetheless. One trick that many
“I’m never going to be as good as the great filmmakers.” successful filmmakers and other creatives have
learned is this: we must learn to accept these
These thoughts may challenge us to work harder,
doubts as part of the creative process, while
but they can also paralyze us if we let them take
making an effort to be kinder and more patient
root. It’s a sobering moment for any creative
with ourselves.
person when we become good enough at our
craft to know how much better our work could If our desire to create is strong enough, we’ll
be- and this is especially true for filmmakers. push through these insecurities and focus our
energy on making things that matter to us.

Digital Filmmaking I 3
THE CORE OF STORYTELLING ask myself what I’ve been thinking about or
grappling with recently. It could be a news story
You can get a good sense of the power of a story involving an ethical dilemma, a big decision
by condensing it into a one or two sentence I had to make recently, or even an awkward
logline. Here’s an example: conversation with an acquaintance. This is one
way to find the stories that we care about, the
FINDING NEMO: An anxious clown fish travels
ones we are most qualified to tell.
across the Pacific Ocean to find his missing son who
was captured by divers.
THE ORIGINALITY MYTH
In this sentence, we learn the main character’s
primal and relatable goal: reuniting his family. So many stories have been told through so
We also learn about the obstacles blocking many mediums, so how could we ever feel like
that goal, since the oceans are huge and full of our ideas are sufficiently original? Our past
predators. What’s at stake? Our main character experiences have led us to this moment, and
could die on his journey, or suffer “emotional they continue to affect all of our opinions and
death”, if he doesn’t find his son. ideas. If that’s true, then true originality is as
elusive as perfection. Everything is a remix.
When a character’s goals and obstacles are so
clearly communicated, the drama follows easily. We can collect our favorite works of art and
Imagine the conflict and obstacles in these recycle them into our own tapestry, but why
classic story forms: not take the opposite approach? Pixar’s writers
noticed the common threads shared by all
An undercover spy falls in love with someone in
animated films and decided to overturn them,
enemy territory.
shaking up the animation industry by writing
The hero is about to kill the villain when he finds films without villains, songs, or love stories. We
out the villain is his father. can challenge ourselves to write a compelling
story that allows us to capture some aspect
Conflict and drama are the foundations on
of human drama, and film it on a shoestring
which storytelling is built, regardless of whether
budget. Restrictions often inspire ingenuity, so
it’s an ancient legend, a Shakespearean play, a
sometimes a low budget can be a blessing.
television soap opera, or a modern blockbuster.
The goal is to have a pool of inspiration from
Along the way, however, honesty must be woven
which we can draw when we are creating our
into any story that we are telling. The often-
stories. We might draw from comic strips,
heard advice “write what you know” is a good
music, documentaries, books or paintings. If the
rule of thumb, but this doesn’t mean that we are
references are wide-ranging, we can construct
limited only to writing autobiographies.
something entirely new without using a single
Whenever I start a new project, I always “original” idea.

Digital Filmmaking I 4
THE WRITING PROCESS DEVELOPMENT

Research can help us inject authenticity into Once we have a script, it’s the director’s job
our story, allowing us to vividly and faithfully to translate it into a film. If we’re directing, we
represent our fictional world. My favorite search decide what the audience needs to see, which
approach involves talking to people who have in turn influences where we place the camera
actually lived the story that I am looking to tell. and how the characters move within the scene.
If my main character works at a restaurant, I We imagine how the audience should feel while
can find an experienced chef and ask them what watching the scene, and we craft the visual
it’s really like in the kitchen, and I can ask them tone and sounds to match. This may involve
if popular movies tend to misrepresent their discussing the story with trusted collaborators,
profession. Then I can take the old-fashioned or reading the script alone while imagining the
approach and go to the library or trawl through finished movie. We can then capture that vision
pages of Google results to immerse myself with notes and visual references. Directing is
further in the character’s situation. about making a million small decisions about the
characters and the imagined world they inhabit.
Once the writing starts, everyone’s approach
is unique. Some people write a brief outline
before expanding each bullet point into its own
scene, while other writers come up with the
ending first and the work backward from there.
Some begin by creating the characters, putting
them in a challenging situation, and watching
what happens next in the mind. Regardless of
the approach, it’s worth remembering that the
first draft isn’t expected to be good. Every story
needs multiple revisions as we refine and hone
what we are really trying to say.

We should ask ourselves: The next step is learning how to communicate

these ideas to our collaborators, and
Can we combine any of the characters into one? storyboarding is one of the most helpful ways
to do that. We can crudely draw each shot on
Is there a more surprising, visual or subtle way to paper, or take photos with stand-in actors. For
play out this scene? complex sequences, sometimes it’s best to
bring the images into an editing timeline to see
Are we entering the scene at the latest possible how the shots cut together. Seeing a real-time
moment, and are we leaving early? mockup of a sequence can highlight major issues
in the geometry or timing of a scene. It’s a labor-
intensive process, and it’s far better to resolve
such problems without the pressure of a ticking
clock on set.

Digital Filmmaking I 5
 1.2 CASTING

THE VALUE OF ACTORS director use their network of talent to ensure

we have a full set of auditions.

Casting directors are particularly helpful if we

are filming in an unfamiliar city, or if our script
demands actors with rare character traits (e.g.,
a 6-foot-tall woman, shaved head with lots of
tattoos, etc.).

On the day of the audition, the casting director

(or their assistant) will read the scene with

THE VALUE OF ACTORS each actor, allowing us to focus on the actor’s

performance. A typical audition lasts from ten
Actors can add layers to the story, or can to twenty minutes, with actors performing
even take the characters in a completely new one or two key scenes from the script. There’s
direction. The entire crew is watching them, usually time to chat about the character and run
so they’re one of the main contributors to through the scenes a few times. While the actors
the atmosphere on the set. On top of that, are performing, we are carefully watching their
actors also have the power to hold the entire line delivery and how they use body language to
production hostage. Imagine being in the middle express the emotions of the character.
of a shoot and the lead actor suddenly decides
Even if their first performance seems perfect, we
to quit the project. We wouldn’t be happy to see
should always give feedback to see if the actor is
anyone leave, but if the lead actor quits, we’ve
“directable”. If their portrayal stays the same, it
got a major problem.
could be an indication that they are too rigid in
We only have a limited amount of time during their character interpretation.
the audition process to determine not only an
actor’s talent, but also their trustworthiness and ON A TIGHT BUDGET
reliability.
If we can’t afford to hire a casting director, we

THE EASY WAY can still hold auditions and find great talent. If
we are working to a low budget, we’ll first offer
The casting process is simplest ifleft to a casting the roles to actors that we know and ask other
director. Typically, we’d pay for a few days of filmmakers for recommendations. After that,
their time, and tell them our budget, filming listing a casting call on one of the many casting
dates and character descriptions. We’d then find websites is usually the best way to go. There are
an audition room to rent, and then let the casting plenty of free casting websites where we can
request showreels and self-tape scene readings.

Digital Filmmaking I 6
It can take a while to comb through the WHAT TO LOOK FOR
applicants, but this approach gives us access
to a huge network of talent without breaking Regardless of our budget, we should always
our budget. Once we’ve narrowed down the choose our cast carefully. When we’re watching
field to a shortlist, we can book an audition showreels, it is important to keep in mind that
room and invite our favorite applicants. I often this is their best work. If every shot has poor
leave auditions with fresh ideas for a scene audio quality, and the writing seems juvenile,
or character after seeing so many different that could mean they’re undiscovered, or that
interpretations. they’ve been unsuccessful with bigger auditions.
If we’re casting a serious role, and their reel is
full of comedic performances, they might not be
NO BUDGET AT ALL?
the right person for the job.

If we don’t have any money to give to actors, After we’ve narrowed down our selection, we
then we’ll need to find something else to offer can set up auditions (or phone calls) to learn
them in exchange for their time. High-profile more about their background and discuss
actors may donate their time when they fall their interpretation of the character. In these
in love with a story, or when they care deeply conversations, we’re hoping to determine
enough about a film’s subject matter, so the their level of dedication to acting, and just as
first step is making sure our story is as strong as importantly, to see if we’d like to work with
possible. After that, we can professionally and them.
respectfully ask actors if they’d like to support
the project. This humble approach tends to get
REMEMBER
more response than if we over-sell the project
as a huge opportunity. Even so, the likelihood of
During auditions, we should always take notes
someone we’ve never met donating their time is
and record the auditions (with each actor’s
slim, so we may need to think outside the box.
permission) so we can review them later. Most

Every up-and-coming actor is looking for fresh actors are rejected by many auditions each year,

footage for their showreel. Why not offer to so the small kindness of introducing ourselves at

film some extra reel shots in exchange for their the beginning of an audition can really humanize

appearance in our film? We can approach acting the whole process. Before each actor leaves, I’ll

students who may be willing to work unpaid tell them when to expect to hear from us about

in exchange for the opportunity to network the role, so they aren’t left wondering.

and expand their portfolio. But remember,

ambiguous promises of “future paid work” and
“exposure” are easy to doubt, so it’s worth being
specific and honest. The best rule of thumb is to
ask ourselves: would we take the job if we were
in their shoes?

Digital Filmmaking I 7
 1.3 CREW

PRIORITIES

Most filmmakers don’t have the opportunity to

work with a thirty-person crew, so I like to make
a priority list. Typically, this starts with sound.
If we have a sound recordist on set, they can
hold the microphone while listening carefully
through headphones. They’ll call out if they hear
a distant train passing by, or let us know if there
was an unwanted sound on the previous take.
This is a huge value to any production, as good
sound quality is of paramount importance to a
professional and high-quality film.

For me, the next priority is a production

assistant (AKA runner). This is the person who
DO WE NEED A CREW? grabs a charged battery from our bags while
we’re talking to the actors. If someone needs to
Modern technology has challenged Orson Wells’ leave set to buy water, they’ll be the one to go
famous quote, “A writer needs a pen, an artist so production doesn’t grind to a halt. Like the
needs a brush, but a filmmaker needs an army”. sound recordist, this is a fairly humble role, but it
We can now operate cameras without a team of should not be underestimated.
technicians. LED lighting has given us safe, small
From here, the hiring priorities depend far more
lights that can be set up without professional
on the project and the director. Some directors
training. It’s entirely acceptable and possible
hire a cinematographer/director of photography
for beginner filmmakers to shoot alone. In
(DP) so they can focus their time with the
fact, that’s often our best option. We place the
actors while the DP is lighting the scene. If the
microphone on a light stand and operate the
cinematography is simpler, then a 1st assistant
camera and lights by ourselves.
director (1st AD) could be more valuable than a
But as our projects develop in complexity, DP. The 1st AD keeps track of the schedule and
working with a crew becomes more and more can be the logistical mouthpiece for the director.
valuable. Even without professional experience, If the production assistant has a question about
the extra hands and brains can save a lot of time their tasks, they’d go to the 1st AD rather than
on set. The truth is that other people can usually interrupting the director.
do a better job, and faster, than one person
doing it all.

Digital Filmmaking I 8
That said, every project is different. A period For example, if someone loves planning parties,
drama may prioritize hiring an art director or why not ask them to organize the shoot? I always
costume designer to focus on set design and used to tell people how much fun we’d have on
costumes, whereas an action film may first hire a set, and that worked more often than I expected.
stunt coordinator or fight choreographer to help
Another great option is to offer to help on
orchestrate all of the actors’ movements.
someone else’s project in return for them
crewing for us. We can find aspiring filmmakers
WHERE TO FIND A CREW? in online groups, and some will even work
to build their portfolio. We can volunteer
The process of finding a crew is fairly
for student films, go to film festivals, and do
straightforward when we are able to pay
anything and everything we can to form a
for their time. We can start with personal
connection with the local film community.
connections, asking our other director friends
if they can link us up with their best production
assistant. After that, the internet is an excellent
place to find people. We can find freelancers
with a quick Google search of the job title we’re
seeking in our nearest city. Alternatively, we
can host an (often free) advertisement on a job
search site and choose from the applicants.
Usually, the best person for the job will stand out
based on their previous work. Once we’ve found
them, we’ll need their contact details so we can
check their availability for the project.

Hiring a couple of people for a few days’ work REMEMBER

can be cost-effective if our schedule is efficient
(see “Budgeting”, pg. 18), but sometimes this is This vitally important: we should be respectful
just not feasible for one reason or another. If we of our crew’s time, which means that we should
lack the budget to hire these people for multiple offer water and coffee breaks, as well as access
days, then it’s time to get creative. I used to ask to toilets. We should give credit for their work,
my friends to help out by promising lots of food let them watch the film, and use it for their reels.
and laughs on set.
Finally, we should be kind. Especially if we are
Most people can be taught how to hold a asking the crew to work for free.
microphone pretty quickly, and we can even
make use of our friends’ passions to help us on
set.

Digital Filmmaking I 9
 1.4 LOCATIONS

Pre-production can feel like trying to solve a We could have personal or emotional reasons
Rubik’s Cube. The filming dates may work for for choosing a location, or it could be as practical
the DP, but may not fit in with the producer’s as choosing the place that gives the best tax
calendar. The best weather is often in the same breaks.
month that hotels get expensive.

With so many factors to consider, I tend to use

the location’s booking as a foundation on which
to build. As soon as we know where and when
we’re filming, the puzzle becomes far simpler.
We can look for actors and crew nearby and
begin designing the shot-list with the actual
setting in mind. However, choosing the best
location requires considerable forethought.

THE POWER OF LOCATION

Some stories require a particular setting. If we’re

making a historical drama, for instance, we’ll
need a space that’s authentic and appropriate
for the time. If the story is about struggling for
survival in the wilderness, we’ll need something
that looks barren, remote, or wild. Every location THINGS TO CONSIDER
comes with a set of audience expectations, and
the choice of location will directly affect the Once we have an idea about the creative
film’s look and the character’s actions. A survival purpose of our location, we need to make sure
story will be very different if it’s set in the Arctic it’s suitable for filming.
tundra rather than the Australian outback. We
A good place to start is by imagining where
could even use the location to add conflict:
each scene would physically take place. Is
imagine setting a scene about a corrupt business
there enough room for our lighting and camera
deal inside a church.
equipment? Are there any windows? If so, do
But the location is not always at the forefront they have shutters, or will we need to find a way
of the story. For example, let’s consider the of blocking the sunlight?
differences between a story that takes place
It’s surprisingly easy to overlook how a space
in Chicago rather than Boston. What are these
sounds. Is there a loud air-conditioner that
places known for? What do they look like?
comes on at random intervals?

Digital Filmmaking I 10
Are there fridges nearby that hum constantly? Ideally, we’ll bring our DP and 1st AD along to
At the time of filming, will there be other people consider the creative and practical sides of the
disturbing our silent set? location. Regardless of who’s with us, we should
always take photos or videos at every location
We must get even more practical when
for future review.
considering the needs of our cast and crew. Are
there toilets nearby? How many? Is there an area
HOW TO GET PERMISSION TO FILM
where we can safely store expensive equipment?
Is there a “green room” where actors can relax
Often the best place to start is by considering
when they are not needed on set? Is there a
the places to which we already have access. Can
kitchen with facilities to make hot drinks? Will
we film where we live? Does our friend have a
we have to carry our equipment up many flights
big house that would fit the story? Do we know
of stairs? Is there free parking available?
anyone who owns a business or some land? It’s far
There are so many questions to ask, and we can easier to call in a favor from a friend of a friend
usually get the answers by visiting the location than it is to call in a favor from a stranger. If that
in person. doesn’t give us what we’re looking for, then we’ll
have to start asking around. If you’re a student (or
FILMING OUTDOORS? young enough to look like one), then businesses
and landowners are more likely to let you film in a
Depending on where we live, it’s usually legal to
space for free.
film outdoors in public spaces so long as we’re
not causing a disruption. Bigger productions For the rest of us, we can offer them publicity,

may require contacting the local authorities and or at the very least ask them to help support the

organizing road closures, but for the rest of us, local creative community. Can we film at a time

we’ll need to have a light footprint. when they wouldn’t be using the space anyway?
Can we offer some money in return for the use
We can use Google Street View to find streets of their facilities? Can we give them behind-the-
and scenery that are appropriate for our shots, scenes photos so they can brag to their customers
and we can use Google Earth to determine about supporting the community? Regardless of
where the sun will be. We simply enter our the situation, our goal should be to make it easy
location and the date and time to see the sun’s for landowners and business owners to say yes.
position.
Even so, we must expect rejection. I’ve spent
Filming outdoors can also introduce many audio weeks searching for a kitchen before finding one
issues. We should check the location’s proximity that was available for our short film. I remember
to train tracks, airports and busy roads. We’ll calling 27 different take-away restaurants before
need to find the nearest public toilets and one agreed to let us film. Without tenacity, we
parking spaces, and also decide the best way to filmmakers won’t get very far.
travel to the location. We can find lots of this
information online, but it’s more reliable to visit
the location in person.

Digital Filmmaking I 11
 1.5 FUNDING & PITCHING

I’ve been fortunate enough to know what I Eventually, I realized that I had to move
wanted to do for a career since the age of 11. away from this comfort zone of making dull,
All through my school years, I wanted to be a informative promotional videos. While watching
Filmmaker, although this passion was not just for commercials on TV, I came to noticed that
my spare time-I wanted to spend all my working the bigger brands usually had more emotive
hours on set. However, there seem to be many commercials. They were memorable, they were
more people who want to make movies than telling stories, and they were using the cinematic
there are movies to be made, so here’s what storytelling techniques that I wanted to master.
I’ve learned about breaking into the business of
I wanted to make something more elaborate and
filmmaking.
creative, but most of my clients were happy with
the simple videos I had been making. They didn’t
THE “EASY” ROUTE
see the value in increasing their budgets to hire
There are many ways of acquiring funding for actors or a crew.
our films, but there is one path to a filmmaking This is what I learned: freelancing can still be an
career that is the most accessible. In my opportunity to tell stories. For example, maybe
experience, the easiest way to make money we’re filming for a local shoe store. We could film
while filming is by making promotional videos. an interview and ask what makes their business
With a little bit of practice and some inexpensive stand out, but in many cases they won’t give
equipment, it’s relatively easy to get a freelance us a memorable story, sowe must look a little
job filming events or corporate videos. Although harder. What if there’s an eccentric customer
these jobs may not be as artistic or glamorous who visits the store every week and chats with
as making narrative films, they can be incredibly the employees? We could film that as part of a
valuable. If we film a wedding, we’ll gain heartwarming community story. We could even
experience in overseeing a project from start to write a short story about someone who needs
finish. We’ll develop skills in planning, filming, their shoes more than the average person. We
and editing, all while working under the pressure could film that with some actors as if it’s a short
of a deadline. And unlike when self-funding our film, with the company logo at the end.
short films, we will learn these lessons while
earning money rather than spending it.

I will admit that I did a lot of dull freelance work

in the early days. I would interview someone
from the company and edit some nice B-roll to
go with their soundbites.

Digital Filmmaking I 12
If we talk to the client about these ideas As we film more projects, we can update our reel
beforehand and share our passion for the story, and establish a stronger portfolio of work. If we
they will (hopefully) see the value. But even are polite to our clients and do our best in every
if they don’t want a TV-style fictional ad, we job, it’s likely that they will work with us again
can inject our creativity into any project. We and recommend us to others..
can storyboard our ideas. We can consider the
creative impact of lighting, editing, and music.
We can apply the same high standards we apply
to our personal work, even if the client would be
happy with something mediocre.

The core lesson here is to make the kind of work

you want to attract. No one will ask us to film
their exciting story if our showreel is full of dull
interviews. We may start by filming corporate
training videos, but as our skills develop and
we network with new clients, we’ll have the
SETTING RATES
opportunity to work with bigger projects and
hire a crew. Along the way, we’ll learn to be One of the most mysterious parts of freelance
more creative, decisive and diplomatic in our filmmaking is deciding how much to charge.
approach, and these skills will serve us well on Before giving a quote, I always ask a few
our narrative projects. questions to determine what the project entails
so I can estimate how long it will take me to plan,
film, and edit.
HOW TO FIND FREELANCE WORK
Once the estimate is complete, I’ll multiply the
How can we find these commercial jobs? The number of hours by my chosen hourly rate,
best way to start is by offering to do a one-day which is based on several factors. Mostly it
shoot for a small business for free. If we do a depends how busy I am: I’ll quote higher if I’m
couple of these, we will not only build our skills busy and the job is time- consuming, but if I’m
and gain confidence, eventually we’ll have a body desperate for work and the project is simple,
of work that can be edited into a short showreel I’ll lower my rate. Sometimes I’ll quote lower to
(typically under two minutes). We can then increase my chances of getting a job that I think
make a basic website to host our reel, or we can would be a great opportunity for my reel, or if I
cold call/email businesses and send them a link believe it can open the door to a great network
to the reel on Vimeo or YouTube. We can print of people. If I’m not so excited about the job,
business cards and start handing them out at I might increase my hourly rate until I feel it’s
every opportunity. If we have to spend an hour worth taking the job, but this can backfire if the
every day writing those emails and making those client accepts the quote and the project ends up
calls, our tenacity is bound to pay off. being more time consuming than expected.

Digital Filmmaking I 13
Ideally, every job should be a networking However, we’d also be taking on the risk that the
opportunity-a chance to learn and get exposure movie doesn’t make its money back. It is this risk
in addition to simply getting paid. With most that pushes many filmmakers into crowdfunding,
clients, that’s not too much to ask for. However, which uses a similar model except for the fact that
in some cases, working for free can make sense the audience pays for the movie before watching
if those non-financial benefits are particularly it. We might self-fund a short film or proof-of-
valuable. concept trailer, and use that as the backbone for
a crowdfunding campaign. If enough people see
Once I’ve established an estimate for the cost
the campaign and are sufficiently excited to pre-
of my time, I’ll then add to that any production
order their digital copy of the film, then we’ll have
costs such as travel, crew, insurance, etc. This
a production budget, and the deadline is all we’ll
gives me a single figure that I can quote the
be beholden to.
client for the entire project, and then they will
either accept it, reject it, or negotiate with me. Some first-time filmmakers find success with
crowdfunding, but typically those with an
When negotiating, it’s important to consider
established audience have better odds. So it’s
how long the project will take and the value of
worth investing time into making low-budget
the non-financial benefits before accepting a
micro-content and small-scale self-funded films
counteroffer. In plenty of cases, I can meet their
to build an audience.
lower budget by simplifying the project rather
than doing the same job for less. If we are unsuccessful in building an audience
before starting our film, we may make efforts
Sometimes I’ll quote too high and never hear
to connect with someone who already has an
back from the client. Sometimes I’ll quote too
established audience. For example, if we could
low when the client was willing to pay far more.
attach a well-known actor or co-director, they
In plenty of cases, I’ll have to walk away from a
could promote the campaign on social media to
project and trust that more opportunities will
boost its popularity.
arise. Quoting and negotiating is full of mystery,
so all we can do is learn from our mistakes and Convincing lots of people to pay for a movie long
do our best based on the information we have. before they see it is no easy task. We’ll probably
need to invest a lot of time into marketing and
managing the campaign, and we’ll need a story
THE NON-COMMERCIAL ROUTE
that really captivates people.
What if we’re looking to do narrative work for As with traditional marketing, we’ll have to
a living? There are many paths that can lead to consider our core audience. For example, if
making our own films. there’s a video game that has a passionate
Video-On-Demand services such as Vimeo Pro or community of players, some of them may be
Amazon Video are a great option if we can afford enthusiastic enough to contribute to an unofficial
to front the production costs. That would make movie version of their favorite game.
us entirely independent, and if the film comes to
be watched by enough people, we’d keep all of the
profits.

Digital Filmmaking I 14
If that is our core demographic, we will have to A smartphone manufacturer could pay to have
consider ways of reaching those people. That our characters use their product on screen,
could mean going to gaming conventions or with the logo visible, although there’s a fine
contacting influential people in such online line between providing maximum value to the
communities to see if they will help spread the advertiser and retaining artistic integrity. In
word. my experience, favoring the advertiser can be
lucrative in the short term, but prioritizing the
The most successful crowdfunding campaigns
audience sustains in the long run.
tend to have exclusive rewards for project
backers, alongside a downloadable version of What does prioritizing the audience look like?
the film. We may also offer limited edition movie We should be honest and openly disclose any
posters, a special thanks in the credits, or tickets advertising. We should respect the audience’s
to a small premiere. Elaborate rewards can bring time by keeping the advertisements unobtrusive,
significant revenue from the those who are and by not promoting irrelevant or controversial
most excited about the project, and can create products.
a community around the film, but we have to
Whichever path we choose, it’s clear that
consider the logistics of fulfilling these rewards.
building an audience will provide us with more
Digital rewards such as Q&A live streams tend
opportunities for funding. If we invest time
to be the easiest to fulfill, so we might choose to
and effort into making and marketing good
limit the number of time- consuming rewards.
content, then we’ll have a much easier time with
An alternative option for independent funding sponsorships, crowdfunding, and on- demand
is through advertising and product placement. sales.
Advertising rates are entirely dependent on the
size and quality of the audience. Even if we have
a huge audience watching our documentary
series about the dangers of sugar, an ice-cream
brand is unlikely to sponsor it. We could,
however, find sponsorship from a nutrition
brand, even if the audience is smaller because
the documentary’s themes integrate with the
brand’s values so smoothly.
GETTING FUNDED
Branding could be as small as showing a logo
during the movie credits, or something far more Let’s imagine that we’ve practiced our craft and
substantial. For an online web-series, we may be learned from our mistakes while producing some
able to offset the production costs by including no-budget short films, and we’re paying the bills
a “This web-series is sponsored by [company]” with commercial filmmaking or an unrelated
segment at the beginning of each episode. We day job. We’re itching to film something bigger,
could even go as far as integrating a product into to tell our story. We’ve got a synopsis or a fully
the content itself. written script, and we’re ready to take the next
steps.

Digital Filmmaking I 15
We could start by developing a simple business What are we pitching? A TV show? A feature
plan that includes an estimated budget for film? Is it a comedy? Answering these basic
production costs, and then calculate how many questions helps ground the story and everything
people would need to buy a ticket to turn a else we’re talking about. It’s also usually wise to
profit. lead with the logline or hook before we dive into
the minutiae of the plot. What does the main
character want, and what is in their way?

A good way of testing our pitching skills is by

trying to capture the attention of our friends and
family. While they may not be industry experts,
hopefully we’ll be able to read the room and
understand if our story is cohesive from their
reactions. If we test it out on a few different
people in different environments, it can help us
to hone our pitch.

We might decide to summarize some key scenes

or episodes, and could use a “comp” (short for
“comparable”) to help establish the tone: “It’s
Romeo and Juliet meets The Exorcist... set on
It’s easier than ever to self-fund movies, thanks
Mars.” However, these should be used carefully,
to the availability of advanced and inexpensive
as we risk backfire if the shared traits are not
software and equipment but most of us couldn’t
clear, or if we fail to establish our project’s
afford to pay the production costs, especially
originality. It’s worth letting them know what
if we’re planning to film for weeks or spend six
stage of production we’re at, and what we’re
figures on marketing. At some point, we may
asking for. Do we have a script and we are now
look for investment from a production company,
looking for a producer? Do we need cash to
studio, producer or wealthy investor.
produce the film? Are we looking to sell the
script on its own? What if we’ve made the film
PITCHING
already and are just looking for distribution?

A pitch is a brief verbal summary of our Investors or executives aren’t just looking for
project, designed to pique interest and to spark stories, they’re looking for people to invest in.
questions. A pitch delivered to the right person Showing how enthusiastic we are about the
could lead to funding or valuable industry project can go a long way. If it’s a comedy, we’ll
contacts. Everyone has their own pitching aim to get the room laughing, rather than just
style, and it’s entirely dependent on who we’re telling everyone how hilarious the script is. That
pitching to. Generally, though, it’s worth putting principle applies to any genre: give them a taste
some key information at the very beginning of of how the audience is going to feel.
our pitch.

Digital Filmmaking I 16
While our pitch is likely to be focused on the We could use our research into the popularity
story, there are some scenarios where we’ll need of playing and watching tennis to see if 10,000
to talk about the film’s financial potential. If is a realistic figure. If it’s not, we could reduce
we’re pitching as a writer or director, we might the budget, increase our personal contribution
mention the demand for the film’s themes or to the budget, or look for alternative revenue
topics. So, if we’re making a movie about tennis, streams, such as product placement.
we might highlight the number of people who
Once we know how much money we’re asking
watch the biggest championships, or how many
for, and have practiced our pitch, we still need
tennis clubs there are in the country.
to find an opportunity to present our pitch.
The financial side becomes far more important There are plenty of feature films that have been
if we’re asking for investment into our own produced after the success of a self-funded
production. We’ll need to explain how we plan short film, and so producing a short film version
to spend and recoup their funds, and we may of our movie or TV show is often worthwhile. We
summarize our business plan and the research can take it to festivals or publish it online, hoping
we’ve done into similar, successful films. Two that someone capable of getting a film made will
key questions are: “Who is most likely to pay to see it. Either way, having something that people
see this, and love it?” And “How are we going to can watch is one of the best ways of showing our
reach those people?” capabilities. We might have to be proactive and
Let’s imagine we’ve written a movie script about invest time into networking with people in the
a fictional tennis player. In this scenario, we sector, and we can ask those we’ve worked with
are confident about crowdfunding $1,000, and before who they could introduce us to. We’re
we’re able to contribute another $500 from not just looking for film producers, as some
our own savings. We’ve made a budget for this wealthy people are keen to support the arts.
hypothetical movie, and the total production
costs are $30,000. In this case, we’d need to
convince investors to give us a total of $28,500
in return for a percentage of the profits.

And how are we going to make that profit?

Let’s run some estimates. If we can sell the
movie on Vimeo for $4.00, then with their sales
commission and the payment processing fee, we
could estimate earning $3.00 for every sale. To
recoup the $30,000 production costs, we’d need
almost 10,000 Vimeo sales.

Digital Filmmaking I 17
Here’s the best piece of advice I’ve yet been If they take a chance with us, it’s not because
given on this topic. One of the easiest ways to they’re doing us a favor, it’s because they believe
pitch our project is by asking someone who’s the project is promising and they want to be a
further along in their career for a short meeting part of it.
to get some feedback. This is a lot easier to agree
However, it’s tempting to inflate our sales
to than a request for investment. They might
projections and overestimate our marketing
hear our pitch and have some suggestions for
figures. We could promise hundreds of
the story, or another angle we could use in our
thousands of sales, and a sizable return on their
marketing. But there’s also a possibility they can
investment, but the entertainment industry
put us in touch with someone who can really
is unpredictable and investors know that. The
help us out. Plus, there’s always the chance
smartest thing we can do is be realistic with our
they’d be interested in investing in the project
projections, and show why there’s a good chance
themselves. It’s so easy to feel like a nobody in
our film will be successful. This is why it’s so
these situations, so I try to remember that we’re
essential to have a good grasp of our business
not just asking for money; we’re offering them
plan and our marketing strategy.
an opportunity to grow that investment.

Digital Filmmaking I 18
 1.6 BUDGETING

Producing films is one of the easiest ways of

burning money. A day’s filming with a cast of
six plus crew members paid minimum-wage,
plus food and travel expenses can easily cost as
much as a used car. If we need visual effects or
an experienced crew, well-known actors or six
weeks of filming, the budget can quickly swell
into the millions.

We’ll probably never feel like we have enough

money to make our project happen, which is Typically it’s the producer(s) who handles these

why budgeting is so important. We’ll carefully practical decisions, helping make the director’s

compromise and negotiate to make the best of vision a reality. On a shoestring budget, it’s

what we have, whether it’s $500 or $500,000. tempting to serve as both producer and director,
but there are plenty of cases where hiring a
THE PROCESS producer could actually save money. Even
someone with no producing experience can
I usually start by making a budget spreadsheet be valuable if they have money management
to keep track of all the outgoing costs. There negotiation skills.
aren’t really any set rates in independent
filmmaking, so we can check online for estimates THE BARE MINIMUM
and call up freelancers and businesses to ask for
quotes. As we get a better sense of the filming When I first started making films, I would spend

schedule, the accuracy of our budget estimate every penny I could on equipment. I now see

will improve. To make an efficient schedule, we the error of my ways. I used to ask my friends to

must consider as many factors as possible. For volunteer as actors in my productions so that I

example, we might swap two scenes so that an could keep saving up for a new lens. We may be

actor with an expensive day rate can arrive on tempted to upgrade our equipment when we see

set a day later than everyone else. the cutting-edge equipment on a big Hollywood
movie production, but we must remember that
If there are multiple locations, we may decide
they only spend a tiny proportion of their budget
to organize our schedule to minimize travel
on equipment. Now, I try to do the same-I
between the various sets. Usually, it makes the
only spend a small fraction of my income on
most sense to schedule the expensive and time-
equipment, and usually rent.
sensitive shots first and then fill in the more
flexible scenes later.

Digital Filmmaking I 19
Here’s how we can film without an expensive at success. We can spend hours developing our
kit. A basic audio recorder with a 3.5mm ideas, writing and rewriting, and the only cost
microphone input costs around 70 dollars. If would be our time. We can write a script that’s
we can find some cheap headphones and tape tailored to our budget-for example, a modern-
a small shotgun microphone to the end of a day drama is usually less expensive to film than a
painter’s pole or broomstick to use as a boom war epic set in the 1940s.
pole, we’ll have a solid audio setup that costs less
We may be able to find crew members who
than most photography lenses.
are willing to volunteer, but if we’re hoping to
build a reliable team, then we should find ways
to support them in return. At a minimum, we
should cover our cast and crew’s travel expenses
and provide food and drink on set.

SMART SPENDING

Most of the other budgeting decisions vary

Once our audio setup is strong, we can use greatly depending on the project. Sometimes it
literally any camera (smartphones included) makes sense to spend on lots of costumes, while
and free editing software (e.g., DaVinci Resolve other times we should set aside a significant
or HitFilm Express) to obtain high-quality percentage for post-production. Our goal when
results. To get started, we can film handheld and budgeting is to be as objective as we can and to
invest in a basic tripod if we need more stable assess where the money would make the most
footage. For lighting, we can make use of the difference. However, there is some general
sun’s natural light, or the available light fixtures advice that I follow in all of my projects.
in most indoor rooms. This equipment may not
• Always negotiate. When you are given a quote,
be glamorous, but it’s very powerful when used
in most cases there’s some room for negotiation.
creatively.
I’ve been surprised by how effective a quick
suggestion to lower the rate can be, particularly
when dealing with a large business, such as a
catering company or a client.

• Look for less expensive ways to resolve the

problem. Can we use stock footage rather than
hiring a helicopter to film aerial shots? Can we
use digital set extensions instead of building
a large set? Even if we decide to use the more
expensive option in the end, it’s better to have
considered the possibilities.
Outside of equipment, there are still plenty of
things we can do to give our film the best chance

Digital Filmmaking I 20
• Invest in sound. If the sound is half of the THE BIGGER PICTURE
movie-going experience (David Lynch, George
Lucas, and Danny Boyle all believe that to be the For plenty of productions, it wouldn’t be smart

case), then our budget should reflect that. I don’t to spend 60 percent of the budget on one

spend any money on a DP until I’ve budgeted for elaborate scene; but there isn’t a rulebook,

a great sound recordist. and I’m sure there is a story for which it makes
perfect sense to include such an expensive
• Save some money for marketing. If we’re going
scene. At the end of the day, regardless of the
to invest our time and money into making a
complex journey we take to get a film produced,
film, it’s wise to invest a portion of into giving
the audience will only see what’s between the
it the best chance of being seen. It depends on
frame lines. That’s what matters.
the project, but 10% of the total budget is a
good place to start (See “Publishing & Marketing,”
pg.69).

• Rent equipment that’s not going to be used

regularly. That way, we won’t have to buy (and
store) lots of expensive specialty equipment.
Even better, you can always rent the best tool
for the job. DPs often have cameras, and sound
recordists often bring their own microphones.
So, even if we have purchased lots of equipment,
it might get left at home during the shoot.

Digital Filmmaking I 21
 1.7 EXPOSURE & SETTINGS

I believe that what’s in front of the camera SHUTTER SPEED

deserves more of our attention than the camera
itself. However, there is some fundamental The shutter speed (also known as shutter
technical knowledge that’s worth knowing angle on many cinema cameras) controls how
before we jump into the more creative ideas. much time the camera’s sensor is exposed to
Most of this is universal to all cameras, but if light while capturing each frame. If our subject
you’re left with questions, I’d encourage you to moves during this time, it will be affected by
look on YouTube, there are many videos tailored motion blur. If we record someone waving their
to each camera. The first thing to do is change hands quickly at a faster shutter speed, such as
the camera to manual mode, so you can control 1/500 (“one five-hundredth of a second”), the
as many of the settings as possible. movement looks choppy because there isn’t very
much motion blur in each frame.

FRAME RATE

Let’s start with the frame rate. This is the

number of pictures (we’ll say “frames” from
now on) our camera captures each second.
Traditionally, film cameras captured 24 images
per second, and cinema projectors played those
images back at a speed of 24 frames per second
(known as fps). Filmmakers may record at a On the other hand, if we change the shutter
higher frame rate such as 25fps or 30fps*, but as speed to 1/50 (“one-fiftieth of a second”), then
long as we watch our footage at the same frame the motion blur looks more like our natural
rate, what’s happening in our footage will be vision.
played at a regular speed. I playback nearly all
of my footage at 24fps to mirror the “cinematic”
look, which means I usually set the camera to
24fps too. If I wanted slow-motion footage, I’d
need to film more frames, and play them back at
a lower frame rate.

For example, we could film someone walking

with our camera set to 60fps, and reduce the
speed by 40 percent in our editing software, Some filmmakers intentionally employ the
to get a smooth 24fps playback of our footage “choppy” look of a fast shutter speed, or they
which would show the person walking 2.5x may slow down the shutter speed to obtain a
slower. dreamlike blur.

*The NTSC television broadcast standard is 30fps (29.97fps if we’re being precise) and is mostly found in North America, and in some South
American and Asian countries. The PAL broadcast standard, which is 25fps, is much more common in the rest of the world.

Digital Filmmaking I 22
However, most scenes in most films use the f/8
standard 1/48 speed, which is almost identical
to 1/50. Since the shutter speed is a duration of
time, we’ll need to change it if we are filming in
slow-motion. To find out the shutter speed that
will give us regular motion blur, here’s a simple
formula:
f/4.5

Using this formula, we can calculate the “ideal”

shutter speed for any frame rate:
The side effect of changing the aperture is
that it also affects the depth of field (i.e., how
blurry the background is). Without getting too
mathematical, a wide aperture such as f/1.4
means we’ll have a shallower depth of field than
filming at f/5.6.

If we change the shutter speed from 1/50 to

f/1.4
1/120, the image will get darker. This is the side-
effect of changing the shutter speed. Reducing
the sensor’s exposure time means less light will
pass through, and the image will be darker. Once
again, it sounds more complicated than it is in
practice. Here’s how I think about shutter speed:
I’ll film with 1/50 unless I want unnatural motion
blur or if I want to film in slow-motion. If I In other words, when we’re filming a typical shot
increase the shutter speed a lot, I’ll have to think the background will be more blurry at f/1.8 than
about ways of making the image brighter. f/8 or f/16.

f/16
APERTURE

Changing the lens’ aperture from f/8 to f/4.5

will make the image brighter. The smaller the
number, the wider the aperture (and the brighter
the image), and vice versa.

Digital Filmmaking I 23
Lots of people like the shallow depth-of-field ISO settings on your camera to see what’s
look, and the additional light from a wider possible.
aperture is often welcome. However, these
ISO 52,000
benefits come at a price. Lenses capable of
filming at wider apertures tend to cost more, and
the narrower depth of field also makes it harder
to keep a moving subject in focus.

ISO

The camera’s ISO (i.e., “gain”) digitally brightens

the image without affecting the motion blur or
depth of field. Regardless of the price of our lens WHITE BALANCE
or the frame rate we’re using, we can increase
the ISO to obtain a brighter image. Next, we have white balance. If we’re filming
outside in daylight, and we want a gray piece of
ISO 100
paper to look truly gray, we can set the camera’s
white balance to 5600K (i.e., daylight) and it will
probably look natural. If we’re filming indoors,
the bulbs we use for lighting often have an
orange hue, which means that the same piece
of paper will look orange unless we compensate
by changing the white balance to a lower value,
ISO 800
such as 3200K, or by selecting the “tungsten/
incandescent” preset.

5600K

However, the ISO has potentially significant

side effects. Higher ISO settings tend to make
the footage grainier, while also reducing the
camera’s dynamic range.
3200K
In practice, increasing the ISO is usually a last
resort, because if we push it too far, the image
becomes mushy and grainy, and full of ugly
digital noise. Some modern cameras can produce
noise-free images at higher ISOs, however, so it’s
worth trying the different

Digital Filmmaking I 24
In essence, white balance allows us to be too bright, even at our camera’s lowest ISO
calibrate the camera to the color of the light setting.
in our environment, the same way our eyes do
With the correct ND filter, however, I can darken
automatically. To find the correct white balance,
the image without affecting the motion blur or
we can hold something gray or white in front of
depth of field.
the lens while using the “custom” white balance
feature available on most cameras. It will No ND
measure and compensate for the color of light
that’s bouncing into the sensor.

This isn’t always necessary, however, especially

if we need to move quickly. If we’re using LED
video lights, they’ll usually display their color
temperature (such as 5500K), and we can simply
enter that value into our camera’s manual white ND

balance setting.

Or, if we’re really in a rush, we can estimate the

white balance by looking at the monitor and
adjusting by eye. That being said, estimating the
white balance is risky. If we get it wrong, we can
attempt to correct blue or orange footage with
The other filter that I use regularly is a circular
our editing software, but that might take a long
polarizing filter (CPL). These handy pieces of
time. Also, major color adjustments after filming
glass filter light based on its incoming angle. In
will almost certainly look worse than if we’d
practice, we attach a CPL to the lens and rotate
gotten the color right on set. If there’s time, I
the front element to see which angle of rotation
highly recommend using a custom white balance
looks best.
before filming every scene unless you’re certain
the light’s color hasn’t changed. Since CPLs cut the light based on its angle, there
are some scenarios in which it will not affect
FILTERS the image at all. Like any tool, it’s not a perfect
solution and requires practice to master. That
There are many different kinds of filters being said, I bring one with me any time I’m
available, but let’s look at the two that I use most filming outdoors and rarely regret it.
often. ND filters act like “sunglasses” for the
lens and allow us to use our desired aperture
and shutter speed settings in brighter lighting
situations. For example, if I’m filming outdoors
in the sunshine and I want to film with a shutter
speed of 1/50 but also at an aperture f/2.8 for
a shallow depth of field, then the shots would

Digital Filmmaking I 25
 most professionals still prefer to focus
No CPL CPL
manually. Bigger productions will employ expert
focus pullers who have years of specialized
experience, and these 1st ACs can ensure
that every shot is in focus while following the
filmmaker’s precise instructions.

For indie filmmakers, autofocus can be a

No CPL valuable tool as long as we don’t rely on it too

heavily. I like to use autofocus to “quick focus” on
a subject before recording, and then switch to
manual focus while the camera’s rolling.

I wouldn’t trust autofocus for a complex scene

on a film shoot, but if I’m filming a simple wide
shot with equipment that prevents me from
touching the lens, autofocus can be very helpful.
CPL

OPTICAL STABILIZATION

Most modern camera systems will have one or

two useful stabilizing features that can help
minimize unpleasant camera shake. The first
place to look is on the lens. Some lenses will have
“IS” in their product name and come with an
AUTO VS MANUAL FOCUS
extra switch on the lens that turns the stabilizer
Setting the focus on a wide stationary shot is on. Depending on the camera manufacturer, the
pretty straight-forward. We simply turn the acronym could be IS, VR, OIS, OS or OSS, but for
focus ring until the image looks sharp, and press the most part, they all do the same thing.
record. But, once the camera starts to move,
or we introduce a moving character, we may
need to adjust focus while recording. Now, our
challenge is to smoothly keep the subject in
focus without distracting the audience. It’s a
skill that takes a lot of practice to master, which
might be why camera manufacturers have
invested so much money into improving their
autofocus systems.

Although electronic autofocus technologies

have improved dramatically in recent years,

Digital Filmmaking I 26
Basically, optical lens stabilization moves part TECHNICAL CREATIVITY
of the lens slightly to compensate for shakes.
It’s not a magic solution, mind you, so if the This area of filmmaking is very technical. The
camera moves too much, no amount of lens numbers can be intimidating at first, but once
stabilization will keep it steady. Under the we’ve got the camera in our hands and start
right circumstances, however, it can make a big to play around with different shutter speeds,
difference. apertures, frame rates and filters, it becomes
intuitive.
The second kind of stabilization is In-Body-
Image-Stabilization (IBIS). This stabilizes the
camera’s sensor, regardless of the lens we’re
using, and it too has varying results depending
on the camera we’re using and how much we
shake it.

Like autofocus, lens/sensor stabilization is not

something found in the high-end professional’s
gear. If we use a tripod or other stabilizing
equipment, we can get buttery smooth
movements with any camera system, but on
an indie production, that extra equipment isn’t
always available, so optical stabilization can be
very useful.

Digital Filmmaking I 27
 2.1 CAMERAWORK

THE BASICS

Most people who have grown up watching

movies and television will have an instinctive
understanding of how to use a camera to tell a
story.

But even with this innate sense, there are still

some guidelines we should consider when we’re
Our framing looks more natural now that we’ve
deciding where to put the camera or how to
moved the camera back, but the vast majority
frame a shot.
of movies use a flat horizon, so it can look
The “rule of thirds” is a popular guideline for unprofessional or uncomfortable if our camera
beginner filmmakers, which encourages us to isn’t level.
position our subject on the intersection between
the horizontal and vertical lines that would
appear if we split the frame into thirds.

But, there are plenty more framing conventions

we might choose to follow. See the images below
for some examples:

Now our horizon is flat, but since our subject

is facing right, we’ll pan the camera right so
there is space on the side they are facing. This is
referred to as “looking room”.

“Cutting off” our subject’s wrists or the tops of

their head can look strange on wider shots.

There’s our conventionally framed shot

following basic composition guidelines, but
these guidelines are only a starting point, as
there are plenty of excellent movies that break
one or many of these “rules” for creative effect.

Digital Filmmaking I 28
Once we are aware of these fundamental Sometimes all it takes is rotating our camera
guidelines, the next step is to practice and (and our actors) so that we aren’t filming
experiment. My framing and composition perpendicular to a wall. Any time we can see
improved greatly after I spent a few years taking perspective lines reaching into the distance, it’s
at least one photo every day. The more time I likely that our image will have depth.
spend looking for images and capturing them,
the more I raise my standards for what I consider
to be a good image.

DEPTH

Most of the basic composition guides are

pretty instinctive, but adding depth to our
frames requires a little more practice. If there’s
no distinction between the foreground and Another simple trick to avoid flat images is to
background, our images might look a little leave some space between the character and the
flat. When a shot has “depth”, it can look three scene’s back wall, rather than filming them with
dimensional, which helps the audience believe their back against a wall.
they’re looking into a real-world rather than
watching a flat screen.

We could add a foreground layer by positioning

a character or prop in front of our camera.

This is one of many instances when a good

location helps our cinematography. Ensuring
that we have a large enough room for our scene,
with extra space for our equipment, will give us a
lot more freedom with our camerawork.

Digital Filmmaking I 29
Now, of course, we may choose to avoid depth Too many close-ups in one film, their impact
on purpose. One example might be if we need could be diluted. Instead, our camerawork-like
the audience to empathize with a character who any part of a film-serves the story best when we
feels trapped. In these scenarios, we can do the consider every shot in its greater context.
opposite by making the room feel small and the
Perhaps there are lots of close-ups at the
space claustrophobic.
beginning of a story, but then the character
makes a decision that distances the viewer from
CAMERA ANGLES
them, so in the later scenes the camera isn’t as
Let’s imagine that we’re filming a dialog scene close.
between two of our characters. One approach Or, we could introduce our main character with
would be to show both of them in the frame in a low-angle shot, where the camera is looking up
a wide shot to connect them. Or we could move at them, like the awe of a young child looking up
the camera until it’s closer to one character’s at their oldest sibling. But then, when the villain
point of view. Or we could go for a close-up so enters the scene and takes control, we raise
the audience is forced to look at that character the camera and look down on our character,
alone. There are so many options, and each will who now looks weaker than ever. Any of these
give the audience a different perspective of our techniques can be used to help the audience
scene and the dialog that’s taking place. That empathize with our characters, to display the
said, we’d never have time to film all of them, power dynamics in a scene, or simply to show
so how do we decide which angles to use in our the audience what we’d like them to look at.
film?
We could come up with these examples all day
Alfred Hitchcock said, “The size of any object in long, studying our favorite films to see how
your frame should be proportional to its importance camera angles are used to represent different
to the story at that moment.” scenes and characters, but at the end of the day,
film is a subjective medium. Any type of shot can
take on a new meaning when it’s combined with
an actor’s performance, the music, or the editing.
Our role as the filmmaker is to make a call
based on our intuition and our understanding of
cinematic language to determine what’s best for
the story.

That school of thought could inspire us to use FOCAL LENGTH

a close-up of a phone when our character is
anxiously awaiting an important phone call. It While considering the camera’s orientation in a
could inspire us to film a character in extreme scene, we should think about how zoomed in we
close-ups during a pivotal scene, which provides are, which is determined by the focal lenght of
a new intimacy with that character, but if we use. the lens.

Digital Filmmaking I 30
Martin Scorsese, Orson Wells, and Steven However, moving further away from our subject
Spielberg have all said that the 28mm lens is one can also change the field of view, but in a
of their most frequently used focal lengths, while different manner.
prolific cinematographer Roger Deakins says he
32mm
uses a 32mm most often. This is our approximate
“midpoint” for a neutral look that’s similar to
human eyesight. If we zoom in, using a telephoto
focal length of 85mm or 135mm, or zoom out to
a wide focal length of, for example, 18 or 24mm,
we’ll get a very different look.

Let’s demonstrate with a simple shot. When

32mm
we change the focal length, the field of view
changes. If we use a wider lens, then the camera
can see more of our scene, and vice versa.

18mm

We can see the difference if we set up the

camera far away from our subject and use
a telephoto lens. This will look dramatically
different from being close with a wide lens.

32mm 85mm

85mm 18mm

Digital Filmmaking I 31
Filming with a wide lens close to our character
will expand the distances, stretching out our
subject’s face. Filming with a telephoto lens
from a distance flattens the subject and makes
the background appear closer, which is an effect
called “compression”. We could film all of our
wide shots on a 24mm and all of our close-ups on
an 85mm, and we’d get a pretty typical cinematic
look. FILMS ARE SUBJECTIVE
That being said, filmmakers often use
I want to wrap up this chapter by reiterating
compression as a creative tool. We could use
how subjective all these techniques are. Low-
a wide lens close to our actor during a scene
angle shots don’t always make characters look
where the character is using drugs, as this lens
powerful, as; that depends on many factors
choice would help show how their mind has been
other than the height of our camera. We could
altered and how they are seeing the world in a
read every cinematography book and analyze
new way.
every film, but we’ll never find a formula that
tells us exactly what to do with the camera.
We don’t need creative justification for every
decision we make. Some of the best filmmakers
rely heavily on their intuition, simply imagining
what the audience needs to see at a given
moment.

We can be inspired by the way filmmakers use

People often describe the distant, zoomed-
the camera and how that makes us feel, but at
in look as voyeuristic, maybe because the
the end of the day, it’s our story that will inform
compression is similar to what we’d see through
our cinematography decisions.
binoculars. Filming a dialog scene from a
distance with telephoto lenses could give a
subtle feeling of paranoia, as if the characters
are being watched.

Whenever I’m choosing my focal length, I try

to think about the lens’s compression before
I think about the field of view. I don’t want to
accidentally create a compressed look just
because I was too lazy to move the camera. If we
experiment with different lenses, we can learn to
estimate what lenses were used in our favorite
movies and use that as inspiration for our own
work.

Digital Filmmaking I 32
 2.2 LIGHTING

Lighting can highlight the subtleties of our With natural light, our focus is usually on
story. We can use light to accentuate, to reveal, blocking and removing light rather than adding
to heighten, or to downplay a particular shot. it. We may hang up black cardboard flags, hang
I believe that filmmakers who don’t consider thick fabric over some windows, or turn off
lighting are missing out on one of the easiest various light switches at the filming location.
ways of improving the look of their films.
Outdoors, we’ve got to consider the direction
of the sun when deciding where to place our
NATURAL LIGHT
cameras and actors. Setting up a large dark sheet
Let’s start with the light that’s naturally available on one side of the actor can bring real depth
to us. It’s completely free and can be just as to the shadows, and is much easier than trying
effective as the most complex lighting that uses to add a light that’s bright enough to compete
hundreds of bulbs, wires, and stands. However, with the sun. Every outdoor film shoot can be
to harness the full potential of natural light, we’ll halted by the weather, so if we need consistent
need to give it some thought. Instead of setting sunshine or clouds throughout the scene, we’ll
up lights and cables, our main job should be have to leave time and flexibility in our schedule.
finding the best places to film. Typically, the sun will be high in the sky at
noon in the summer, which can create some
unflattering shadows when compared to the
photogenic beauty of a sunset. The softer,
golden light before dusk is very popular with
filmmakers, but that golden-hour look doesn’t
suit every scene. We’ve should consider what
kind of lighting best represents our characters
and our story.
If we’re filming indoors, we could set up the
camera and actors next to a window for a
MOTIVATION
beautifully soft but naturalistic look.
I love filming in natural light, but sometimes we
want a specific look that’s simply not possible
without adding our own lights. With practice, we
can learn to transform a room by changing the
direction, quality, and color of the light. But this
freedom comes at a cost. It’s all too easy to get
carried away with artificial lighting, which can
lead to an unnatural or “overlit” look.
We can move further from the windows, or film
at night, but we risk getting grainy footage if our
camera isn’t capable of filming in low light.

Digital Filmmaking I 33
My favorite way of combatting this is by using LIGHT DIRECTION
what’s called “motivated” light. Lots of the best
lighting decisions are motivated by the kind of The first element of lighting we can control is
light that would exist if our film wasn’t fictional. its direction. My favorite means of learning
In the real world, light comes from windows, about this is by pointing a flashlight at someone
through doorways, and from other “practicals” from different angles. If we pay attention to the
such as table lamps. When we’re setting up shadow that the nose casts, we’ll see how much
our lights, we might start by simulating the someone’s face can be changed with nothing but
kind of light that we’d expect to find in the light.
scene’s location. Some projects call for entirely With the light’s “motivation” in mind, we might
unrealistic lighting, but a typical scene in a set our lights at eye level and off to one side if
typical film tends to have plenty of realism in the we’re simulating window light. If we’re filming in
lighting. Hopefully, the audience won’t notice a parking garage at night, we’d probably expect
that the scene has been lit, which can further the light to come from above, like fluorescent
immerse them in the fictional world of the film. ceiling fittings. Once we learn to recognize
When I’m lighting a scene, I’ll start by thinking what a face looks like under different angles
about the kind of light that would be there in of light, it removes a lot of the mystery from
reality. We might choose to use soft light if we’re cinematography. We’ll be able to set up lights
filming a day interior where there is likely to be a and anticipate the results before seeing our
window nearby. camera’s monitor. With practice, we’ll even be
able to look at an image and make an educated
For a night scene, we might set up a blue light
guess as to where the light is coming from,
to simulate moonlight coming through an open
allowing us to reverse engineer the lighting from
window. After that, we’re can take liberties to
our favorite movies. We can then consider how
make sure we have the right look for the scene,
these different kinds of light might impact a film.
but logical light is an excellent foundation.
How does it feel to see someone who’s side-lit
with one eye hidden in shadow?

Digital Filmmaking I 34
Does this remind us of anything? How do we feel
when we see someone lit from underneath?

In cinema, soft lighting is pretty common-

probably due to it being more flattering for faces
and also because we rarely see harsh, dramatic
shadows in day-to-day life. Softer light tends to
be our default for a lot of scenes.

LIGHT QUALITY

The quality of light is determined by the size of

the light source relative to the subject. We can
use the sun to demonstrate this. On a clear day,
the shadows are crisp and clear because there’s
a single source of light that’s relatively small.
This quality of light is called “hard light”, and When we talk about a softening light, it’s not
it creates sharp shadows and lots of contrast. just about putting a diffusion filter in front of a
The sun is gigantic, but because it’s so far away bulb; as we’re actually talking about increasing
it casts similar shadows to a small bulb that is the relative size of the light. We often can’t move
much, much closer. On a cloudy day, the sun is the light any closer, so it makes more sense to
still illuminating, but the clouds have become our bounce the light from a larger light source.
figurative light source, and they are much bigger
(relatively speaking) due to their proximity.
Therefore, the shadows are softer and create
less contrast.

Digital Filmmaking I 35
On set, that means we could light a character The next time you watch a movie, take note of
with an 18-inch softbox positioned close to the which scenes use hard and soft light. Is the light
talent, with which the shadows would look very quality motivated by realism? How does the light
soft. In a wider shot, however, the softbox would make you feel?
be visible to the camera, so we’d need to move
it further away from our subject, and increase COLOR
it’s size to get a similar look. Rather than using a
giant softbox, it’s often easier to bounce the light In mainstream movies, the vast majority of shots

instead, for which we can point our small light use a fairly neutral light colors. If our scene is

source at a white wall or ceiling, and if we get the set next to a window during the day, but our

angles right, the reflected light will be our new, lights cast a green or red hue over our scene,

larger light source. Alternatively, we can bounce we’d be breaking lots of cinematic conventions.

our light from a white bedsheet (or anything Of course, we may want our film to have

reflective) hung on a pair of light stands. This unconventional or abstract lighting, but even

gives us a lot more freedom to adjust the angle within the bounds of realistic filmmaking, there

and position of the light and it’s bounce. are plenty of times we can use color creatively.

If we’re going for a soft look, we’ll need the most We could use the light’s color to show the time

powerful lights we can find, or we’ll need to use of day. If we’re filming a night scene and our

fast aperture lenses. Why? Because whenever light’s motivation is the moon, we can consider

we diffuse or bounce light, it will not be as how the direction of the moonlight would be

intense as a direct beam, so we either need more from above, and perhaps coming in through a

light to begin with or a lens that can receive window if we’re indoors. The light quality would

more light. The second consideration is that soft be hard, creating crisp shadows, since the moon

light tends to bounce in all directions, and so it is a relatively small light source, and the color

can easily fill a room, removing any shadows. We would be blue (i.e., “cool”).

can contain the light with darker sheets or flags

to cut some of those secondary reflections that
could be diluting the look.

If we’re representing candlelight or an open fire,

they tend to have an orange (i.e., “warm”) hue and
could come from below, with softer shadows.

Digital Filmmaking I 36
Color theory, states that there are societal Some lighting fixtures allow us to swap bulbs
connotations that come with each hue. For for a cooler or warmer look, and we can always
example, the color red is often associated with bounce the light off a colored bed sheet to get a
sensuality and passion (red lipstick, red roses) different effect. Furthermore, we could change
but also danger (blood). With this in mind, we the camera’s white balance to make our lights
might set a scene in a bar or nightclub with look warmer or cooler without spending a single
deep, red lighting as a way of ascribing those penny.
connotations to our scene. However, if our
For a softer look, we can use a white shower
film’s style is more abstract, we could use red
curtain or bed sheet, along with some tape or
lighting without this kind of logical motivation.
inexpensive A-clamps to hang it up. Pointing our
While most filmmakers tend to stay rooted in a
light at the white material will give us smooth,
foundation of realism, there is always room for
soft shadows. To complete the kit, we’ll need
creative license if we believe it would support
something to block light, like a large piece of
the story.
black-painted cardboard or a thick blanket. Now
we’ll be able to remove any unwanted light, such
LIGHTING ON A BUDGET
as a bright windows, during a night scene.
A budget kit could start with some inexpensive Lighting equipment can be expensive, but once
but powerful work lights that can be obtained we have a grasp on the direction, quality and
from hardware stores. If we’re willing to spend color of the light and have a firm understanding
a little bit more, we could pick up a basic of its true-to-life motivation—it’s far easier
fluorescent softbox lighting kit, which usually to achieve our desired look, regardless of our
includes light stands. With that alone, we’ll be equipment.
able to control the light’s direction and can
bounce it from ceilings and walls to change its
quality.

Digital Filmmaking I 37
 2.3 MOVEMENT

A moving camera is quintessentially cinematic, Watching these older films is a real masterclass
a scene can gain considerable power and energy in camera placement and how to stage a scene
when the camera’s movement supports the economically.
story. That being said, we probably shouldn’t
bombard the audience with a constantly HANDHELD
swirling, rotating camera.

Sometimes, stillness is more powerful. So when For a rougher, playful feel, we can hold the
we imagine our film, we’ll need to decide when camera without support and let the audience
and how the camera will moves. feel the energized “gritty” style that’s often
associated with documentaries. Handheld
footage is probably the least expensive of all
camera movements. If we walk with our knees
bent, and practice keeping our hands steady,
we’ll get some great results. I like to use the
Edelkrone FlexTILT for my handheld shots. I can
fold it out to become a small hand-grip, or I can
even balance it on my knees for extra stability. It
can also quickly turn into a mini tripod, giving me
the stable tripod look without the need to carry
bulky equipment.

TRIPOD

A tripod is the foundation of most camera

movement. It holds the camera still, and we
can film an entire movie that way, cutting to
a new shot each time a character moves. But
tripods can also be used to perform smooth pans
(horizontal camera rotation) and tilts (vertical
camera rotation). To see the true power of a
tripod, all we have to do is watch some classic
movies from the ‘60s or earlier. Back then,
cameras were so heavy that they had to be fixed WHY MOVE?
to a tripod and so a large proportion of camera
movements were pans and tilts. Although the Films with camera movement tend to look
camera only rotated, it allowed the audience expensive and impressive, but that’s usually not
to follow the character as they moved around a a filmmaker’s top priority.
space.

Digital Filmmaking I 38
A good starting point is considering how the We may also choose to move the camera
different camera movements will make the because it was “motivated”. A motivated camera
audience feel. move is when the camera follows something
specific in the scene. We might decide to use a
We can watch our favorite movies to study how-
gimbal stabilizer so we can walk with the camera
and more crucially, when-the camera moves. We
to follow a character down some stairs. If our
can think of movement as punctuation for our
character stands up, we might simply tilt the
film. In writing, we can use an exclamation mark
camera up so we can still see their face.
to communicate shock, anger, excitement; if the
camera moves towards our subject during a key Typically, camera movement stands out a lot
moment, it can have a similar effect. more if it’s not motivated by movement within
the frame. As a result, lots of camera moves in
With that in mind, we may decide to use such
mainstream cinema use such motivations to
a camera move when our character is making a
blend the camera’s motion with the scene.
big decision, intensifying the moment by getting
closer and closer. Or we could slowly move
the camera away from our character, inching
CHARACTER
backward during a tense scene as if the audience
We can always go back to the script to help us
is backing away in fear. Or we could add some
with camerawork decisions. Let’s imagine our
dynamism to a heroic moment by circling the
character is in a war zone; we could film them
camera around our character so the background
with a handheld camera, and the unstable shakes
rushes past them. There are many different
would help the audience empathize with the
interpretations that we can be applied to the
character’s frantic, nervous mindset.
different types of camera movements.

Digital Filmmaking I 39
We could film with a gimbal or Steadicam during We could make a very emotive, dramatic film
a scene where our character is feeling confident. without moving the camera at all, just by cutting
A single shot without cutting while the camera to the next angle. We don’t have to use a shaky
glides smoothly pas could be the perfect pairing handheld camera every time our character is
for a character who’s in charge, confident, and feeling nervous, or follow every little movement
slick. the characters make. The camerawork could be
very plain, or could even oppose the character’s
REMEMBER mental state, creating a contrast between how
the character and camera move.
Camera movement by itself is usually not very
powerful. It’s the combination of the script, the If camera movement in film is like punctuation
actor’s performance, and every other creative in writing, then we should remember that the
decision we’ve made that brings out the full sentence itself does most of the work. The
impact. punctuation is only there when we need it.

Digital Filmmaking I 40
 2.4 AUDIO

I would rather watch a film in DVD quality on

a tiny screen with a good sound system than
watch a movie in pristine 4K quality on a large
screen but with a laptop’s built-in speakers.

Although I’m confident enough as a viewer to

make sweeping statements about the power
of audio, for some reason when it comes to
my own projects, I have to remind myself that
sound is important. It’s much easier to invest in
They let me know if there are any problems
a new lens than a new microphone. I naturally
with each take, and they also tick every piece
put a lot of thought into how my film will look,
of dialog from the script. If the take was good,
but the sound often gets neglected until post-
but one word wasn’t captured perfectly, they’ll
production.
ask the actors to re-read that line for the
microphone between takes.
COLLABORATION
After we’ve covered the scene, we’ll then record
On a micro-budget production, working with a what is known as “room tone.” This is the natural
crew can be a luxury. However, I strongly believe ambiance of the room while everyone stays
that every film set should have someone who is silent for about a minute. We might hear the
focused on managing the sound. Ideally, it’d be hum of a distant air conditioner or the sound
a professional sound recordist, but on a tight of birds in the trees; although it may seem
budget, it might have to be a friend listening insignificant, these background sounds will be
through a pair of headphones for any audio essential when it comes to post-production.
issues.
If we’ve got the dialog and room tone, and
Usually, the goal on set is to record the dialog there’s still a bit of time, the sound recordist
cleanly and clearly. Sounds effects such as might suggest recording some “wild-track”
footsteps can be added later, but the voices are sounds. This could be footsteps or any other
the hardest to replicate in post- production. If non-dialog sounds that might be useful
there are any traffic sounds, train tracks, passing when we’re building the soundscape in post-
airplanes, or construction sites nearby, we’ll production. Although we could record most
need to stop the recording and wait until the set of these sounds on another day, it’s worth
is quiet. The sound recordists I’ve worked with recording sound in the authentic environment of
have had fantastic attention to detail. the set (if possible).

Digital Filmmaking I 41
MICROPHONE PLACEMENT Their compact size makes them a good choice
for wide shots or in tight spaces such as a
Microphones can’t zoom in, so even the greatest car. Since their signal is usually transmitted
microphone won’t be able to capture clear dialog wirelessly, lavaliers tend to be expensive. There
or sounds if it’s too far from our subject. The is also the risk of radio interference, although
sweet spot is around 9 inches (20 cm) from our I’ve personally never experienced this. A
subject’s mouth, and there are a few different cheaper alternative is to connect the lavalier
ways we can get the microphone into that microphone to a portable recorder in the actor’s
position. pocket, which captures and stores the audio
without wireless transmission.

Even if we’re using a lavalier/boom microphone,

we’ll still usually put a microphone on the
camera as well. This serves as a backup
recording that we can use to synchronize the
video and audio files together.

TOP TIPS FOR SOLO SHOOTERS

A super or hyper-cardioid shotgun condenser If you don’t have someone on set who’s
microphone on a boom pole tends to be the first dedicated to sound, here are some quick tips to
choice for recording dialog. These microphones set yourself up for success:
are directional, meaning they mostly capture • Set the audio levels correctly; for dialogue it
sound from the direction in which the should be sitting at -12dB when the character is
microphone is pointing, which is helpful for speaking normally.
isolating dialog from background sounds.
• When recording outdoors, use a windshield or
They’re typically attached to a boom pole so
blimp to minimize wind sounds.
they can be held outside the camera’s view,
hanging down over the person speaking. • Listen carefully for problems: background
sounds, buzzing cables, etc.
Holding a boom pole correctly requires some
practice. Not only does the microphone need to • Turn off any nearby air conditioning or
be the correct distance from the subject, but the refrigerators if you can.
operator will need to aim it at different actors • If the room is echoing, try hanging towels
as they converse. The operator will also need on a light stand or bringing in some furniture.
to communicate with the camera operator to Breaking up the flat surfaces with softer
ensure that the microphone (and its shadow) materials tends to absorb the sound reflections
isn’t visible on camera. that cause echo.
Lavalier microphones are tiny microphones that • If the issues persist, consider moving to a new
are often hidden underneath clothing. location! Sound is important.

Digital Filmmaking I 42
 2.5 DIRECTING

I can vividly remember the first time I directed a Directors must simultaneously trust their team’s
professional crew. On set, crews tend to respect expertise and judgment while keeping everyone
the director’s vision and assume that you know on track with their singular vision. Within that,
what you’re doing. So, everyone would turn to some directors work very collaboratively and
look at me in silence after we’d filmed a take. I encourage suggestions, while others are far
felt like I was under the spotlight as the whole more rigid and particular.
team waited to hear if I was satisfied with the
When I’m directing, I’ll usually listen to every
footage. At that moment, something I’d heard for
idea unless we’re in the middle of a particularly
years really sunk in: A director needs to know
busy moment in the schedule. However, I’ll
what they want.
always run the idea through my own filter.
There’s a fine line between having confidence
in my own judgment and being biased towards
my ideas. In practice, this means I usually spend
plenty of time considering suggestions, but I’m
not afraid of rejecting them all-and I’ll never
leave it to a vote.

Even though I’ll start with a clear idea of

what the film should be, I try to be ready for
APPROACH it to change and develop over the course of
the production. Some of my ideas will be too
The director looks at the bigger picture; they expensive, or they won’t fit our schedule, and
are the captain of the ship. They find the best sometimes, mistakes or accidents can take us
cast and crew for the story, and then figure out in a new (and better) direction. When should
how to communicate their vision to them. Many we fight to keep the integrity of the original
films are made without the director touching idea, and when should we be flexible to new
the camera at all. The director might stand ideas? Making those decisions is one of the main
next to the monitor, talking to the 1st AD who responsibilities of the director.
then passes on instructions on to the crew.
Depending on the project, the director may split
COVERAGE
their remaining time in conversations with the
actors or the director of photography. On set, our goal is to cover each scene with
I believe that it’s a director’s job to have a clear footage that we can use as building blocks when
goal for the final film, but not necessarily how we are editing. With a typical dialog scene, that
to reach that. What starts as one person’s means we’d usually start with the wide/master
interpretation now has to be implemented by shot. If we have to stop filming unexpectedly, at
a team, so everyone involved tends to have least we’ve got both character’s performances
questions and suggestions. on screen.

Digital Filmmaking I 43
Once we’ve covered the scene, we’ll usually I was usually wrong. Now, I have raised my
move to the medium shot followed by a close- standards for when I’m ready to move on to the
up of each character. This is the conventional next shot.
way of covering a scene and will give an almost
Despite the value of high standards,
unlimited number of options for editing. We’ll
encouragement and enthusiasm also play a vital
be able to select our favorite take for each line
role on set. Morale is important in any team,
of dialog, and we’ll be able to cut between each
and sometimes that means I’ll play it cool even
character’s close-ups and wides freely. We can
if I am panicking internally. If a problem arises
extend or reduce the pauses in the conversation,
and my attempts to resolving it don’t work, I’ll
or even remove an entire line of dialog
calmly ask some trusted collaborators for their
seamlessly. However, sometimes we choose to
ideas. I remember once I telling the whole crew
sacrifice that flexibility.
about a problem with the lighting, and it was
Often there just isn’t time to cover the entire the production assistant who came up with the
scene from every angle, or it’s an emotional perfect outside the-box solution. There is a fine
moment and we’re concerned that the actors line between putting on a brave, confident face
won’t be able to replicate the scene’s intensity in tough times, but and honest and willing to ask
over and over. Let’s imagine we’re confident that for help when it’s needed.
we won’t need to use the wide shot when we’re
editing the second half of the scene; as a result,
WORKING WITH ACTORS
we could cut the second half of the scene from
the wide shot. This will save us some time on
In theory, a perfect director could coax a brilliant
set, but when we’re editing, we’d only be able to
performance out of any actor on the planet.
choose between the medium shot and close-
However, I am not a perfect director. I’ve found
ups for the scene’s ending. With coverage, it’s
that I get much better performances when I’ve
a balance between filming enough to control
given due care to the casting process.
the key moments of each scene while being
economical with our time.

WHEN THINGS GO WRONG

Many challenges arise on a film set, and the

director is usually the one to point out when
things aren’t working. The director decides if it’s
time to move on to the next shot, or if we need
to adjust and go for another take. This is a crucial If I’ve watched many actors’ showreels, held
moment. In my early work, I would sometimes auditions, and re-watched those audition tapes
feel bad for asking for another take, or I’d until I’m confident with my selection, then my
assume that we’d be able to solve a problem role on set becomes a lot simpler.
later in editing.

Digital Filmmaking I 44
When I’ve found actors with an intuitive Choose not to rehearse at all because they
understanding of the role, then my role believe there’s power in the first take.
shifts into creating a comfortable working Sometimes, if the actors perform a line
environment. When that happens, I usually repeatedly, it can lose its freshness, and so
find that the actors deliver my vision with little filmmakers record the early “rehearsal” takes in
feedback from me. case something magical happens.

It’s important to establish trust with the cast. I’ll Once we’re on set, I usually like to see what the
call or meet with each actor before the shoot, actors come up with for the first take. I’ll talk
to ask them if they have any questions about to them about the blocking (i.e. how they move
the script, and try to get to know them a little in the scene) but usually no more specific than
bit. We’ll discuss the character’s background saying “you enter from here, and by the end
or the reasons for their choices, but if the actor of the scene, you’re here.” I’ll then film their
asks a more specific question, I’ll often turn intuitive interpretation of the script, and give
the question back to them. I’ll explain to the any feedback that’s necessary for the next take.
actor that I’m keen to capture their natural
Throughout the day, I’ll do my best to notice
interpretation in the first take. An actor’s job
which actors work best after a few takes to
is to inhabit the character’s motivations and
warm up, and which ones seem to plateau with
feelings, so they will often bring something to
repetition. We might be able to adjust our
the role that I would never have thought to
schedule slightly so that the actors who benefit
ask for. Some actors thrive on this freedom,
from warming up can film their close-ups later in
but others prefer to have a more detailed idea
the day.
of what you are looking for. Some directors
In most cases, it’s setting up for a new shot that
organize rehearsals so that they can sculpt the
takes the most time, so if I have any doubt about
performance with the actors away from the
performance, I’ll ask for another take.
pressure of a live set; while others.

Digital Filmmaking I 45
Sometimes, despite giving the actor lots of Let’s imagine that we have a scene set in a
feedback, the scene still doesn’t working. When kitchen, and the dialog isn’t working. We could
this happens, it’s vital to remember a few key try asking one of the actors to sweep the floor
things. Firstly, it takes courage to perform during the conversation. I’ve found that when
a (often emotionally taxing) scene in front actors are busy while speaking, it can make
of a camera and crew. Everyone on set feels the performance feel far more lifelike, perhaps
pressure, but it’s only the actors that have to because the actor isn’t thinking about the lines
work with the entire room watching them. so much.
So, I try and keep that in mind if I ever start to
get impatient with an actor. No-one feels as COMMUNICATION
vulnerable as an actor who’s holding up the
One of the most important skills that a director
entire production because the director isn’t
should learn is precision and diplomacy in
happy with their performance. If the actor needs
communication. Rather than saying, “Nah; that
an extra five minutes to prepare for a pivotal
idea won’t work,” we can say, “I was thinking of
scene, I’ll understand. If some of the crew are
something more like this” before suggesting our
joking around between takes on a crying scene,
alternative.
I’ll ask them to be respectful of the somber
atmosphere for the actor’s sake.

Next, we can consider the feedback (i.e. “notes”)

we are giving the actors. Most actors respond
best to conceptual rather than technical notes.
Instead of asking them to deliver a specific line
“faster”, we might describe the urgency that the
character feels at that moment. We could also
discuss what happened in the previous scene
and how that would impact the character’s
emotions. Scripts are often full of subtext, and
However, on a bigger set, it’s probably not an
so we might say that while the line is “have a nice
efficient use of the director’s time to do all of
day!” the character may actually be speaking
the communicating. For example, if we need to
ironically. In another scene, they may be trying
find out if the actor will be ready in five minutes,
to convince, undermine, seduce, or distract.
it could involve going to the green room and
When we give the actor an objective in the
talking to the make-up artist. If we’re working
scene and talk about why their character has
with a 1st AD, we should delegate that kind of
that objective, the actor has far more to sink
logistical communication to them, and they may
their teeth into than if we’d just said, “be more
pass on the instruction to a production assistant
sarcastic”.
or 2nd AD.
Finally, I’ve been in plenty of situations
Specificity is vital for a crew that moves
where the best solution was to give the actor
efficiently. Asking an actor to “move a bit to the
something to do with their hands.
right” isn’t clear. We should qualify the direction

Digital Filmmaking I 46
in relation to the camera, and tell them how far If we’re trying to block a complex shot full of
to move. It would be far better to say, “move half movement, it’s very helpful to give an actor a
a step camera right.” cue: “your cue to leave is when ______ finishes
saying ________”, If we need the cast and crew to
If we ask the camera operator to “jump in for
reset back to their original positions for the next
a close-up”, how would they know if they’re
take, we can say “back to one”. This kind of lingo
supposed to change the focal length or move
is invaluable on a film set.
the camera closer? That’s not precise enough.
When we’re talking about moving the camera, it Finally, the tone we use when we talk to our
can pan left or right, tilt up or down, dolly in or team matters. If our crew is small, it doesn’t take
out (AKA push in or pull out), slide/track/truck much time to say hi to everyone and learn their
to the left or the right, or boom/jib/pedestal up names. A bit of humor can also make a long day
or down. far more bearable. Every director runs their set
differently, but I’ve seen first-hand that a cast
and crew who feels respected and appreciated
will give their best to help the film be good as it
can be.

CONCLUSION

The director getting the final say means that

we’ll be lavished with praise by those who enjoy
the film, but also blamed for its shortcomings.
I think it’s important to remember that
responsibility when something goes wrong. The
director can control the working environment,
can choose who to hire, and can make a plan
when a problem arises. Therefore, even if it
seems that someone else has completely ruined
a scene, it’s still the director’s responsibility.
The director shouldn’t blame an actor for
their performance, and their thoughts should
always be “what can I say to bring out the right
performance”. We can’t tell the audience that
our film would be better if the weather had been
on our side. There are no excuses in directing.

Digital Filmmaking I 47
 2.6 PROPS, COSTUME & DESIGN

The lush green would contrast with the grey

concrete of the earlier prison scenes, and we
could use the motorcycle as a symbol of carefree
movement, riding with the wind blowing through
their hair.

The production design can add layers of

empathy and meaning to our story, engaging our
senses beyond sight and sound. How many times
It’s surprisingly easy to overlook production
have we watched a character who is having a
design. We could have the most beautiful
bad day get splashed by a car driving over a
lighting and film with the most expensive lenses,
puddle? These kinds of ideas can evoke a visceral
but if every scene has dull beige walls and empty
reaction from the audience that connects us
sets, our films will lack a massive part of visual
to the character in a primal way. The audience
storytelling. We can spend all our time thinking
knows how it feels to stand in the rain, waiting
about how to light and film our scenes while
at a bus stop, and how awful it feels to get
forgetting to think about what we’re filming. Do
splashed with filthy street water. Or conversely,
our characters spend most of their time at home,
all of us know how it feels to smell freshly baked
in expensive restaurants, or smoky bars playing
bread in a warm kitchen. These are all ways we
pool? Deciding where the characters physically
can help tell the story without a single line of
are is only the beginning of this conversation.
dialog. That’s the power of production design.
It can immerse us in the film, providing a rich
APPROACH
experience for the audience; and the best part is
The production design (i.e. “Art Direction”) that it doesn’t have to be expensive.
process varies hugely depending on the budget, If we’re on a tight budget, we might handle the
but ideally, we’ll consider it from the very production design ourselves, or call in some
beginning of script development. favors from people we know. We could look for
Let’s imagine we’ve got a character who has just someone who has attention to detail, a strong
escaped from prison. We could use the actor’s sense of color and aesthetic, or some level of
performance to show how excited they are to DIY/craft experience.
be free, but what about their surroundings? We If we have a budget available, hiring an art
could have them ride a motorcycle, speeding director/production designer (and their
through country roads next to fields of grass. assistants, if possible) is an excellent investment.

Digital Filmmaking I 48
I’ve had fantastic experiences with art directors,
especially when I bring them into the project
early on. Ideally, they’ll join us for location
scouting and plenty of meetings for discussion
of how we’d like the film to look. They’ll then
go away and borrow, purchase, or rent what’s
needed for our shoot, and by the time they
arrive on set, a lot of their work is done.
On set, if we have someone whose job is to focus

PROPS on props, they’ll keep track of which items we

need for each shot. They’ll reset the props back
Props can be a fantastic way of telling a story to their original positions when we need to re-do
with subtle visual cues in the plot or hints about a take and be an extra pair of eyes watching for
the character’s personality. While directing continuity.
directed a short film set in a restaurant kitchen,
If we don’t have any money to spend, we can
I suddenly became aware of the number of
write a story based on the props we already
decisions involved in the props. How many
have access to, which usually rules out stories
knives does each character need? What kind
involving swords or expensive cars from the 60s.
of ingredients does a commercial kitchen use?
What dish are they preparing at any given
moment?

Beyond these kinds of questions, we have to

consider the assumptions that the audience
might make. If we see a character give a red rose
to someone, the audience would probably make
the leap that there’s a romantic relationship.
If a character looks longingly at a framed
COSTUME
photograph, we can infer that they miss the
person in the photo (or that time in their life). Costumes are another excellent opportunity
These props, and what happens to them later in to delegate. We can enlist a friend who’s into
the story, can be a great way of communicating fashion and talk to them about the project and
with the audience on a more subconscious level. what it would involve. As always, we can hire
We can go as deep as we like with these details. a professional if the budget allows. Regardless
Is our character the kind of person who carries of our team, we’ll need a vision of how the
a phone with a cracked screen? Do they have characters might dress. I certainly wouldn’t call
the latest smartphone, or still use an old brick? myself a costume expert, but I do sometimes
Props can tell us so much about a character’s make assumptions about people based on the
background, personality, wealth, and orientation way they dress. So, we can reverse engineer
in life. some of those stereotypes to help us imagine
how our characters might dress. Does our
character take pride in their appearance?

Digital Filmmaking I 49
Would they go out to a bar wearing baggy, skin, which helps make the lighting look more
plain clothes, even if they’re surrounded by natural and organic. Beyond that, makeup can be
people wearing expensive watches, jewelry, and used as an extension of the story. We can make
makeup? Do they dress older or younger than someone look as if they are sweating, which
their age? can visually show stress or exhaustion. We can
make someone look as if they are blushing, or
There are so many things we can say about a
pale with sickness. We can make them look like
character based on their clothes. A good way
they are crying, or have been recently crying. A
to study costumes is by re-watching a movie
professional makeup artist will be able to handle
with the sound off. When does the character’s
most of those scenarios, and just as importantly,
costume change? When do they fit in with the
ensure that there’s consistency throughout the
other characters in the scene? Which colors do
production.
they usually wear?

If we’re on a tight budget, we can make use of Similarly, the character’s hairstyle can say a
the clothing we already have, or we can borrow lot about them. We might have a scene where
from friends and family. We can check out thrift a character changes their hair after a major
stores for inexpensive items, or we can rent turning point in their life. We might use different
specialized or expensive attire. The actors I’ve hair lengths to show the passage of time, or to
worked with on micro-budget projects have show that a character is reinventing themselves.
all been happy to wear their own clothes while Just like with the costume, a character’s hair
filming, and quite often they will bring a few and makeup give the audience the opportunity
options to choose from. to infer things about the character’s personality
and background. Haircuts can tell us in what
MAKEUP AND HAIR decade our film is set, or how old the characters
are, or can provide so many other subtle details.
I’m definitely guilty of overlooking hair and
A character with a shaved head and tattoos is
makeup, as I think many indie filmmakers are.
likely to make a different first impression on the
But that’s a mistake, because movie makeup is
audience than a character with perfectly straight
about so much more than just making the actors
hair and rosy red lipstick.
look good.

First, in most mainstream films, every character

will wear some form of makeup. A little bit of
powder helps reduce the shininess of natural

Digital Filmmaking I 50
On many of my shoots, I’ve asked the actors
to simply show up wearing their typical daily
clothing and makeup.

I usually don’t even mention their haircuts.

But, on other projects, I’ve asked if actors were
willing to grow out a scruffy beard or to get a
particular haircut before the shoot. As ever,
how much thought and care we take with each
element of production design is our decision.

Digital Filmmaking I 51
 2.7 LOGISTICS & SAFETY

Even a simple short film project involves On the same project, I was in the middle of
hundreds of logistical considerations. What time rehearsals with the actors when I got a call that
does everyone need to arrive on set? What’s our our production assistant didn’t have a car. Most
filming schedule? How are we transporting the of the crew were traveling up on the train, so we
equipment? were relying on the production assistant to help
us transport people and equipment to set. That
As a filmmaker, my goal is usually to make
miscommunication left us with 24 hours to find
as many creative and logistical preparations
someone willing to get up bright and early all
before we arrive on set so we can get as much
week to drive the crew to set.
filming done while the cast and crew are with
us. The bigger the project, the more logistical By this point, we’d had so many things go wrong,
considerations we’ll have to make. but every single time, we managed to solve the
problem or find a workaround, but I was actually
As our team expands, the director’s role is often
quite relaxed about it. It was just another
being the bridge between each department,
problem to resolve, and that’s a big part of what
making sure everyone’s on the same page.
filmmaking is about.

INEVITABLE PROBLEMS 1ST AD

When I got into filmmaking, I noticed very On set, it’s vital to have a person whose job is
quickly that things tend to go wrong. I’ve had to consider the logistics. A good 1st assistant
locations claim they were double-booked or shut director will keep track of our schedule and
down completely days before our shoot. I’ve had make sure the right people are on set, on time.
actors bail at the last minute, or simply decide As a director, there are so many things to think
not to show up on the morning of the shoot. about simultaneously, so many questions and
problems to consider. The first time I worked
When there are so many logistical details to
with a 1st AD, it was like a huge weight had been
coordinate, it’s almost guaranteed that we’ll
lifted from my shoulders. I could go the whole
run into some trouble. I’ve learned some
day without needing to look at the time, because
important lessons the hard way, particularly
the first AD would let me know that we were
about communication. One time, I was making
five minutes ahead of schedule, or that we still
changes to our script but didn’t think to talk to
had three more shots to do before breaking for
our producer. I hadn’t considered how the script
lunch.
changes would affect our shooting schedule, and
we had to ask some of our crew to work an extra Aside from that, a good 1st AD will be able to
day on short notice. It worked out, but I learned answer many of the cast and crew’s logistical
the importance of keeping the producer in the questions, allowing the director to focus on the
loop. creative side.

Digital Filmmaking I 52
They’ll make any necessary preparations for the CATERING
next set-up, and in some cases they’ll be able
to fix problems before the director even hears Let’s reiterate this once more: Our cast and
about them. crew often work very long days. They might be
waiting around for an hour doing nothing at all,
and then suddenly have to deliver their skills in
a high-pressure environment. They may have
traveled far for this shoot, and on low-budget
projects, they may have taken time off from their
day job to be part of our project. The least we
can do is to feed them well and have plenty of
water and caffeinated drinks available. If we’re
catering for 10 or more people, the costs can
quickly add up, but I would rather work with a
small, happy crew than skimp on the catering so I
can hire some extra people.

There are catering companies that will deliver

hot food, snacks and drinks directly to the
The 1st AD can also be helpful when it comes
location, but if we’re truly on a shoestring
to safety. For example, if our scene involves a
budget, we can always buy groceries and
character crossing a road, the 1st AD could help
prepare meals before the shoot.
plan the safest way to do that. They might ask a
production assistant to stand where they have
a better vantage point to signal when it’s safe
to cross, while ensuring that the cast and crew
spend the minimum time on the street.

On a bigger budget project, we could have

2nd and 3rd ADs who focus on looking after
the actors/extras and supervising production
assistants, which on plenty of indie shoots, those
responsibilities fall to the 1st AD. The 1st AD
SAFETY
might be the first person to ask the actors if
they need a bathroom break or if they’re warm
Working on a film set may not seem like a
enough while the Director is watching the last
particularly dangerous job, but there are risks
take on the monitor.
that we need to be aware of. There are cables
In essence, 1st ADs contribute massively to that people could trip over; there is heavy
the atmosphere on set. If the cast and crew are lighting and camera equipment that could cause
listened to, well-fed, and warm, they’re much injury. On bigger sets, there could be generators
more likely to give us their best work. and large amounts of electricity.

Digital Filmmaking I 53
If it’s my film, I am responsible for the safety of us if they were uncomfortable with anything we
every single person on that film set. Forgetting were asking of them.
to take safety precautions is no excuse. I could
On that same project, we had a scene with
face serious legal and financial implications if
fake guns and knives that we were filming in a
someone gets hurt or killed on my set, but that’s
residential area. We researched the local laws
not even the worst of it. There is not a single
and contacted the local police to let them know
scene or film that is worth someone’s life. It is
the details of our shoot in case anyone called
simply not worth it.
to report us. We also delivered information
fliers to the nearby houses, letting them know
that they might hear some shouting during our
filming time. We even took the extra step of
coordinating a police officer to supervise the
scenes involving fake weapons. This was an
expensive decision, but after seeing stories in
the news of armed police officers being called
to film sets, I believe that was the right call. We
were filming at night, and we had actors running,
The first place to start is with a risk assessment. shouting, and pointing realistic-looking guns at
Ideally, we’ll consider every scenario that could each other. It’s simply not worth risking lives for
put our cast, crew, or the public in danger. For the sake of a movie.
each risk, we’ll write our plan to minimize that
danger, and what we would do if that situation INSURANCE
arises. We’ll then give this risk assessment
document to every cast and crew member so There are many different types of insurance
they are aware of the dangers each day. The that we might use during the production of a
simple process of identifying risks goes a long film. Public liability insurance is probably the
way to putting safety as the top priority, but most common, but there is a type of insurance to
there’s more we can do. If any scenes involve cover almost any risk you can imagine-location
stunts, then we’ll need to take extra care with damage, equipment theft, copyright lawsuits, etc.
planning and precautions. If our character needs
I’m not a lawyer, so I’d recommend consulting
to run through a busy marketplace, that’s still
one to identify any risks with your production.
considered a stunt. We might set up crash mats
I will say that it’s pretty sobering to read an
and carefully orchestrate the action to minimize
employer’s insurance contract. I remember
the possibility of tripping. If we have the budget,
vividly reading about how the company
we should always consult a professional stunt
would compensate hospital costs and funeral
coordinator.
arrangements if someone on my set was hit by a
When I directed a scene involving tackles, falls, car or otherwise harmed. Reading through the
and kicks, we rehearsed everything slowly and detailed scenarios gave me a new appreciation
carefully before the shoot. We had crash mats for why safety is the number one priority on a
on set and regularly reminded the actors to tell film set.

Digital Filmmaking I 54
TRAVEL & HOTELS If we’re hiring an actor or crew member, we’ll
usually draft an agreement that includes how
Ideally, we’d organize hotels for the cast and much we’re paying them and the services they
crew, and arrange cars to transport everyone are providing us. Actors will also need to sign a
between locations, but that’s often not possible talent release form to give us permission to use
on a shoestring budget. For my indie shoots, we’ll their image and likeness in our film.
usually find cast and crew who live within an
As with any agreement, it’s our responsibility
hour of the location. That way, we can reimburse
to look out for our own interests. If I’m being
their fuel costs or public transport tickets, and
hired for a film job, I’m regularly shocked by
provide taxis for shorter journeys. We’ll need
what clients include in the first draft of their
to make sure everyone knows exactly where
contracts. I’ve been asked to sign agreements
and when to meet each day. We might even give
that entitle the client to unlimited re-edits
directions including the public transport options
without additional payment. They’ll slip in
and local taxi phone numbers.
a clause that says they can terminate the
CONTRACTS agreement at any time, even if I’ve already
invested money and time into the project.
I was taught that I should sign a contract with
This is where we have to remember that they are
anyone I’m working, hiring or working for, even
looking out for their interests, and we have to
if there’s no payment involved. This was an
look after ours. If we’re unhappy with any part of
invaluable lesson. Many logistical nightmares
the agreement, we can tell them we won’t sign it
have been avoided with one helpful phrase:
until changes are made. We can ask to add our
“Please refer to section __ in our contract.” The
own clauses, and most of the time, clients are
agreement can be in plain English, outlining
willing to negotiate the terms.
what each party has promised to do for the
other party. We can include deadlines for Here are some things I’ll try to include in my

work, deadlines for payments, working hours, contracts if I’m working for someone else:

and describe what will happen if the project is - I will take the client’s feedback into account,
canceled. Ideally, we’d consult a lawyer for every but I retain full creative control of the final work.
contract we write or sign, but on a low budget,
- I will own all the intellectual property rights to
I’ll often use a dictionary to decipher a contract
the work.
that I’m signing, or I’ll adapt a template contract
from the Internet before hiring. - I will be paid 50% of the fee before I begin work
on the project.

Digital Filmmaking I 55
 3.1 EDITING

Editing is often described as the “final rewrite”. synchronized with the video files recorded on
Our script will have gone through many changes the camera. If we’ve used a slate on set, we’ll be
and updates during pre-production, and the able to look at the first frame of the footage,
story shifts and adapts further on set. Editing and rename the video file based on the scene,
gives us yet another opportunity to change and shot, and take number. We can then either
improve our story, based on how the previous automatically synchronize the files using our
production stages went. editing software, or manually align the sound of
the slate “clap” in our audio and video files.
Some video editing software includes tools that
can speed up the editing process, but we will
REVIEWING
inevitably spend most of our time thinking about
the order and duration of shots. At its core, I like to start the editing process by watching
that’s what video editing is, and you can change through all of the footage, when I will resist the
the order and duration with any editing software temptation to assemble any cuts, as the purpose
you can find. is to familiarize myself with the footage. I try to
be ruthlessly focused on the footage, letting go
ORGANIZING
of all of the baggage from the earlier stages of
production. A shot that was originally intended
The first stage of editing is a more technical
to the opening shot could be used later, and a
process of organizing our files. If our budget
shot that was really expensive, complicated,
allows, we can delegate this task to an assistant
and time-consuming might not be used at all.
editor. The goal is to have one folder for our
The only thing that matters now is the footage
project, and to make sure that all of the media
we have available and how it can be used to
related to this project are stored within this
construct the story. This is where working with
folder. That way, if we ever need to move the
an editor can be so valuable. They won’t have
project to a different computer or disk, we
any personal attachment to the material and will
can confidently copy the entire folder without
look at it with fresh eyes, as the audience would.
worrying about missing files.
If I’m editing, I’ll watch all of the footage a
second time, making notes this time, so that I
don’t have to commit details to memory. I might
note down a continuity error, or that the actor’s
performance in take five was more aggressive
than in take four.

Some people use this time to mark their favorite

(or least favorite) takes, or to tag the footage
Often, we’ll have recorded sound with an with details such as “close-up” or “outdoors.”
audio recorder, and these files will need to be Later, when we’re editing, we’d be able to

Digital Filmmaking I 56
quickly find any shots that were tagged as In reality, however, film shoots are never perfect.
“outdoors”, which can save us a lot of time if With that in mind, editing always involves
there are hundreds of shots in the project. compromises. Sometimes I’ll have to cut to the
Usually, I’ll be able to find a specific shot quickly wider shot because that’s captured the actor’s
by looking at its scene and shot number, so I use best performance. I might have to temporarily
tags and other organization tools sparingly. cut to a different angle to hide a line of dialog
that I removed because the scene was feeling
CUTTING too slow. We might use the first half of take four
and overlay some of the audio from take six if we
I’ll pick a shot, and watch all of the takes. If it’s
can get it to line up close enough.
a simple wide shot of a house, we might have
I’ll often add some temporary sounds, even if
just one take. If it’s a complicated stunt, then it’s
I have to steal them from a movie or record
pretty common for the last two takes to be far
them on my phone. They’ll be replaced with real
better than the previous ones. Despite this, we
sound effects later, but they can be a valuable
need to watch everything. If it’s a dialog scene,
placeholder in the meantime when the sounds
it’s pretty common to have five different takes
are important for the emotion or rhythm of
for each shot, and we might end up using lines
a scene. Similarly, I’ll sometimes edit with
from each of the takes to build a tapestry of the
temporary music in the timeline if I’m likely to
final conversation. I’m mostly looking at the
use prominent music in the scene. However,
performance of the actors, evaluating the dialog,
I’ve had plenty of occasions where I was really
facial expressions, and body language. I’ll pick
happy with an edit, and then I struggled to
my favorite take, but I’ll often end up marking
find a song that fitted as well as the temporary
two or three alternative options to try later.
song. It’s only natural to align the edit closely
Then, I’ll drop my favorite onto the timeline,
with the pace of the music, but then I’ll find
and repeat the whole process for the next shot.
myself beholden to the rhythm of a copyrighted
Sometimes a take that I thought was excellent,
song. On a few occasions, I’ve had to re-work
just doesn’t fit anymore once I’ve watched it
the pacing of an entire scene after switching
in the context of the scene. It’s a balancing act,
the music, which defeats the purpose of using
trying to find the best combinations.
temporary music in the first place.
With every shot and every decision, we’ve got to
Throughout the editing process, there are so
consider both the micro and the macro. How will
many decisions to make. Should a conversation
this cut affect the shots on either side of it, and
play out faster or slower? If it should be faster,
how will that impact the film as a whole?
how much faster? We can use lots of fast cuts
If the shoot has gone perfectly, every take will be to overwhelm or excite the audience, or we can
free from technical issues (microphones in the slow down the pace and give the audience a
shot, cast forgetting their lines, etc.) and full of moment to reflect or study the shot in detail.
excellent performances from the actors. In that
case, we could show the audience any camera
angle during any part of the scene.

Digital Filmmaking I 57
As with all of the filmmaking decisions, we rely film hundreds of times, most of the audience will
on experimentation and intuition when deciding only watch it once, so taking some time away
on the best option for our story. from the screen can help put us in their shoes.

With my first short films, I remember wasting Watching that first cut can be a pretty painful
my audience’s time by including long and dull experience. Usually, at this point, the film will
sequences where my characters traveled from be littered with problems and will barely make
one location to the other. I edited sequences sense, much less be something I’m proud of. I’ve
that lasted 60 seconds longer than they needed had a few evenings of feeling physically sick due
to because I was proud of the shots we’d got, to how much I disliked my film. Fortunately, all is
or I wanted to show off a VFX technique I not lost. The first cut is not supposed to be good,
had recently learned. But mostly, I just wasn’t and if I’m happy with it, it probably means my
actively looking for opportunities to condense standards are not high enough.
my story.
REFINEMENT
After that lesson had begun to sink in, it still took
me years to start economical with the number of Once the first cut is complete, we can move onto
cuts that I was using. I wish I could go back and the process of experimentation and refinement.
remind myself to consider every second of the There are no general rules to editing since every
footage in my timeline and every cut to a new project is different, and so many of the decisions
shot, asking, “What does this add to the story?”. are based on the intuition of the editor. As I
Sometimes it’s tempting to show three different watch the cut I’ll look for moments that feel too
angles of the same thing or to include every slow or too fast.
piece of dialog from the script, but if any of those
Many of these decisions can be informed
shots or lines don’t drive the story forward, or
by our life experience. If you listen to a real
tell the audience something fresh and significant
conversation, people tend to interrupt each
about a character, we should strongly consider
fairly often and rarely leave pauses. While it’s
removing them.
tempting to give the audience time to hear every
line of dialog, we shouldn’t be scared of overlaps.

THE DREADED FIRST CUT

Eventually, after plenty of problem solving and

tough decisions, we’ll have chiseled a “rough cut”
of the film. As soon as I’ve done this, I usually
make a duplicate copy of the project file, so that
I can confidently make further changes knowing
that I can always go back to this version. Then,
I’ll walk away from the computer and wait until
the next day before watching the cut all the way
through. Even though we’ll end up watching our

Digital Filmmaking I 58
Similarly, in real-life conversations, people don’t screen or not facing the camera). Our original
always look at the person who’s speaking. As the intentions no longer matter, because every
editor, we have the power to influence where moment of footage can be added, moved, or
the audience looks, and often, a character’s removed.
reaction is more important than the person
who’s speaking. FEEDBACK

With practice, watching films and cutting our Watching the latest version of a film we’re
own, we’ll get a better understanding of our editing with someone who’s never seen it before
personal definition of a “strong edit”, and apply can be vital. They could give us a suggestion
those techniques to our later work. for the story or highlight something about the
plot that isn’t clear, but usually, their presence
REPURPOSING alone makes a big difference. For some reason,
whenever I watch my film with another person in
After the second or third version of the cut, I like
the room, I usually see the movie through their
to go back and watch all of the original footage
eyes. Before they give any feedback at all, I’ll
again. Now that I’ve constructed the story, I have
usually have identified about 10 changes I need
a new perspective of the footage, and I’ll often
to make to the edit.
see an alternative way that one of the shots can
be used. After that, I’ll usually show it to another editor
or filmmaker that I look up to. If they have
If the characters didn’t move very much in a
suggestions, I’ll usually make an effort to try
scene, we might be able to take a short clip of a
all of them. I’ll then watch it again myself, and
character’s reaction, and use it at a much later
decide whether it has been improved. If the
point in the scene. We might even find a piece of
changes haven’t helped the story, I will simply
dialog from a different scene that we can drop
undo the changes. I’m often surprised by how
in so long as our character’s lips aren’t visible at
many ideas make it into the film that I would
that moment (e.g. when the character is off-
otherwise never had tried.

Digital Filmmaking I 59
 3.2 SOUND

Most people go their entire life without

experiencing anything close to true silence. A
room might seem quiet, but with concentration,
we can pick out the hum of a refrigerator in a
room nearby, or the rushing of traffic a few miles
away. The human brain naturally filters out many
sounds from our daily life, helping us to focus
our attention on hearing voices clearly. Perhaps
Each time a new audio clip is used, we’ll add
that’s why many beginner filmmakers have
a small crossfade to fade between the clips
scenes with only dialogue or music. But, if we’re
gradually.
looking to represent the world with some form
of realism, then we should strongly consider
layering in some of these subtle, distant sounds.
Our audience may not notice them, and will most
likely filter some of them out-but that’s what
the brain is comfortable doing. I believe that
these sounds of the wind, dogs barking, and air
conditioners can play a huge role in immersing
the audience in the world of our film.

DIALOG AMBIANCE

The first stage of post-production sound is Once we have a consistent dialog track, we can
looking at the dialog. We’ll probably need to consider adding some more ambient sounds
make some volume adjustments to make sure that may not have been present on set. Typical
that all of the character’s important lines can sounds might be crickets during a night scene,
be heard. We may also do some general noise- or the hum of an engine during a driving scene.
reduction at this stage, using a plugin or effect We can add the sound of a telephone ringing
to isolate the voice and to reduce any unwanted at the back of an office or the bustling hubbub
background hiss. If there are any silences of a busy train station. Heavy rain or wind can
between lines of dialog, they will jarringly be really emotive ambient sounds, although
stand out from the rest of the scene, while as weather sounds often require some visual
if we have a consistent ambiance throughout elements on set too. If we’d planned ahead and
the scene, the audience won’t give it a single wanted the pitter-patter of rain to be heard
thought. The easiest way to create a consistent during one of our interior scenes, we’d need to
ambiance is to find the silences between lines of make sure our characters enter the scene with
dialog, and use our 60 seconds of ambient sound umbrellas or coats that look wet. Any of these
(room tone) that we recorded on set to fill in any ambiances can subconsciously persuade
gaps.

Digital Filmmaking I 60
the audience that the film’s world exists outside So, with any sound, its materials and movement
of what the camera can see. With a bit of can be broken down. Is it an impact or scrape?
thought, these background sounds can bring the A metallic clang or a wet squelch? Within each
mix to life, adding sonic depth. sound, there are also degrees of intensity. If we
use the sound of a small stone plopping in a river
FOLEY / SOUND EFFECTS for a scene with a fully- grown adult falling into a
pool, it would sound comically unnatural.
In traditional filmmaking, the term “foley” is used
describe human-related sounds (i.e., footsteps, That said, while we start with logic and reason,
clothing sounds, doors opening or closing) that we can always embellish and exaggerate the
could be performed by a foley artist, whereas sound when necessary. Coconuts have been
sound effects are a little more specific (i.e., lions played like instruments to sound like a horse’s
roaring, a gunshot, or a car’s engine revving). hooves, and leather gloves are often shaken
In indie filmmaking, there’s less of a distinction to sound like a bird’s wings. It doesn’t matter
between “foley” and “sound effects” since what it looks like, our only priority is the sound.
they’re often recorded by the same person. Suddenly everything around becomes an
instrument to for the generation of different
I like to watch through a scene from my film
textures and tones.
and make a list of every possible thing that I
can see that should make a noise. If I can see a
dog in the scene, I’ll note the dog’s footsteps
(on each surface it’s walking on) the sound
of its collar jangling as it moves, breathing or
panting sounds, and any other vocal sounds
or interactions it might have, such as its tail
wagging against a table. I aim to make an
exhaustive list, even if these sounds might
be used quietly in the final mix. We can even
SOUND LIBRARIES
consider extra sounds that we might not be able
to see, things that happen off-screen. Having
In some cases, it’s faster to find a sound that
made this list, our next task is to capture these
someone else has already recorded in a sound
sounds.
effects library. Most video editing software
I believe that this is the part of the process comes with a basic package of sounds, and I like
that separates the pros from the beginners. to complement that by looking at freesound.org
Experienced foley artists find sounds in the for recordings that are listed with a Creative
most obvious and obscure places. We can start Commons 0. Recordings marked as “CC0” are in
by thinking logically. If we need the sound of a the public domain, meaning that the copyright
door, we can find a door that we can record. But, owner has granted free, unrestricted use of
a metal door slamming will obviously sound very the sounds for any purposes. There are also
different to a wooden door being closed slowly. professional sound libraries and packs available
for purchase,

Digital Filmmaking I 61
although their value is largely based on how mids to “thin it out” or boost the high frequencies
relevant their sounds will be to each filmmaker’s to make it brighter or crisper. We can make
work. a sound more muffled by cutting the high
frequencies, or we can make something sound
BUILDING THE SOUNDSCAPE larger and heavier by boosting the low bass
frequencies. We can also use EQ to help
Once we’ve recorded and collected our sounds,
distinguish between our music, SFX, and dialog,
we can upload them into our software of choice,
making sure they aren’t all occupying the same
match up the timings and start layering in the
frequencies. A great way to learn about EQ is
sounds. Although we’ll have recorded many
by testing out the effect in your video editing
footsteps and tiny sounds, we’ll usually reduce
software, and experimenting by boosting and
most of them to be so quiet that they’re barely
cutting different frequencies to see how it
noticeable. We’re often dealing with hundreds
impacts the sound. Just like with color grading,
of sound files, and trying to replicate many
it’s tempting for beginners to over-use these
different sounds and movements. There’s no
effects, so if in doubt, keep it subtle.
way around it, this process requires meticulous
attention to detail and a lot of time. PANNING

Most micro-budget indie films are mixed in

stereo, meaning that it’s designed to be watched
on a system with two speakers (or headphones).
We can send any of the sounds off to the left or
right speaker to further immerse the audience
in our film. If there’s a knock on the door, and
our characters look camera-left, we could pan
the door knocking sound all the way left, so that
EQ it comes from the left speaker. It’s a simple but
surprisingly effective way to create the illusion
An EQ effect allows us to adjust the tone of
of a much bigger space. We can also pan sounds
a sound file, much like how we can adjust the
slightly to one side if they aren’t completely
shadows, mid-tones, and highlights when we’re
off-screen, but we still want a slight sense of
color grading.
direction. The second useful purpose of panning
is that if all of our sounds (music, sound effects,
dialogue) come from the center, the audience
might struggle to distinguish between sounds,
particularly if they are similar in tone. We can
also use panning as a subtle way to differentiate,
hence ensuring that the audience can hear
everything clearly.

We can boost the volume of low frequencies to

make a sound more bassy, and cut the

Digital Filmmaking I 62
REVERB A little bit of reverb can take the edge off a
sound and help it blend in with the scene.
Reverb is the effect of sound waves bouncing
around a room or space, and arriving at the
LEVELS
microphone later than the original sound.
In layman’s terms, it could be described
Once we’ve assembled our soundscape with
as thousands of echoes that blend into a
layers of sounds and any necessary audio
shimmery trail behind each sound. When
effects, we can listen to the entire film to check
recording dialogue on set, we usually place
the levels. If our audio meters go into the red
the microphones in such a way to minimize
zone above zero decibels (0dB) then we’ll need
reverberations, but there are plenty of occasions
to reduce the volume of those sounds to avoid
where reverb is part of the story. For example,
any “clipping”. We’ll also listen for any individual
we might have a character speaking in a church,
sounds aren’t audible, or that stand out too
and reverb will add a certain gravitas to their
much in the mix. Finally, we’ll make sure that the
words. We might have a scene set in a grand
levels are consistent between each scene so that
library, and when our character clumsily drops
we can watch the entire film without needing to
their books, the sound reverberates around
adjust the volume of our speakers.
the huge space, extending their moment of
embarrassment while everyone turns to see who
disrupted the silence. Or, we might have a scene CONCLUSION
in a cave, where a character calls out, and the
Going through all of these post-production
reverb subtly lets them (and the audience) know
sound steps is not usually part of the idealized
that they are totally alone. In these scenarios,
image of what it’s like to be a filmmaker, but for
the sound will often be recorded “dry” or
me, it’s become one of my absolute favorite parts
“cleanly”, and then we’ll use software to precisely
of the entire filmmaking process. I can spend an
simulate reverb.
entire day re-writing or editing and feel like I’ve
Since we can add reverb to any sound, some
have wasted my time or even made things worse.
filmmakers use it without a location-based
But post- production sound is one of the rare
motivation, such as adding reverb during a
parts of the filmmaking process where you’re
dream sequence, or when a character recalls an
almost guaranteed to see an improvement as
important piece of dialogue from earlier in the
soon as you’ve spent a few hours working on it.
story. However, this can often sound surreal or
Very few people in the audience will notice or
corny, and so it’s often saved for scenes involving
compliment our sound mix, but we get to hear
locations with naturally occurring reverb.
the vast improvement that a little bit of time and
Although I’ve never filmed a scene in a church effort makes to our film. I usually feel relieved
or a cave, I’ve added a little reverb to sound after the sound mix is completed, as suddenly
effects that are supposed to sound distant. I my actor’s performance is more believable, the
regularly use it if I find that a sound feels a little colors are a little richer, and everything just gets
“sterile” because it was recorded in such a quiet turned up a notch in both realism and beauty.
environment.

Digital Filmmaking I 63
 3.3 MUSIC

Music can have a profound effect on how the Sometimes, we’ll use music with a fast tempo
audience feels during a scene. A piece of music and lots of percussion for an exciting action
alone can transport us to a different time or scene, but the opposite could also work. Using a
place, but when we combine it with the visual slow, calm piece of music during that same scene
elements of a film, its impacts are multiplied. could add another layer of meaning.
This leaves filmmakers with many choices to
We’ll also need to consider the musical structure
make. How do we want the audience to feel
of our film and of each scene. At which points
during a scene, and what is the best music to
in our story should the music be building up,
support that?
increasing in volume and intensity? Should it
gradually change from one mood to another,
CREATIVE IMPACT
or abruptly switch direction? We can use a
memorable melody as a theme throughout our
The purpose of a film’s music is to support the
film. Perhaps every time a character appears on
story, so if one simple repetitive note played on a
screen, we hear a particular piece of music.
guitar works for the story, that’s valid. We could
use a slow, sad-sounding piano instrumental for Sometimes, the best music for the scene is
a funeral scene, which is probably the obvious complete silence. Plenty of movies leave most
choice. If the character is feeling mournful, dialog scenes without music at all. Some films
then the music could help the audience to feel prioritize realism by only using diegetic music
the same way, providing a connection with the (i.e., music that exists in the film’s world), such as
character. However, we definitely don’t have to when the audience can see a record player or a
use a piano soundtrack for every sad scene. live band.

Our music doesn’t have to be limited by what That’s the beauty & difficulty of film music; there
sounds “good” in typical music terms. We might are so many choices. We can be inspired by older
choose dissonant music that clashes or music films where the music is really at the forefront,
recorded on an out-of-tune instrument. To such as the iconic Jaws (1975) soundtrack that’s
me, that’s where the creativity comes in. Our impossible to ignore. Or, we could take a lighter
music can mirror and accentuate the emotion touch, with more subtle music that’s almost
of a scene, or it can create a contrast. Some unnoticeable, or is only used during scenes
of the most memorably horrifying scenes are that don’t include dialog or many sound effects.
accompanied by jolly music, which can make the These important decisions are all subjective, so
scene more disturbing than if we’d used typical it’s worth experimenting with different musical
tense “scary” music. The same can apply to the styles.
energy of a scene.

Digital Filmmaking I 64
WHERE TO FIND MUSIC Instead of investing money into hiring a
composer, I’ll invest time in learning how to
As ever, if we have a budget, we can hire a make my own music. Composing your own music
composer to make a bespoke film score for our has its limitations, but I do think it’s possible
project. We’d have meetings to discuss our vision to make a film score without lots of musical
for the film, and then they’d use their musical experience. In the beginning, we might be
experience and expertise to make the creative limited to more minimalistic music that’s more
and technical decisions that relate to the music. of an ambiance rather than many melodies with
However, for plenty of indie projects, it’s not complex arrangements.
financially viable to hire a composer, and so we The simplest and most common option is to use
might look for existing music that we can use Royalty-Free Music. This is music that can be
for our film. We should only use music for which licensed for use in film or video for a one-off fee
we’ve been given license or written permission rather than periodic royalty payments. Most
from the copyright holders. The probability of of these tracks can be found on music licensing
being sued for unauthorized usage of music platforms such as Musicvine.com or MusicBed.
may seem slim, but there are numerous other com. The typical process for acquiring a license
reasons why it’s still worth getting full clearance. involves searching the site for a song that we’d
If we ever want to enter our project into a film like to use and selecting our intended use of the
festival, have it broadcast on television, or sell/ track. The same song would cost more to license
distribute it in any way, license documents will for use in a TV commercial than a charity or
usually be required. personal project. Some sites offer a subscription
Licensing a popular song from the charts would pricing model, where an annual or monthly fee
be incredibly expensive, and would most likely covers unlimited usage of their music library.
require hiring a specialist lawyer to contact the Royalty-Free music can be incredibly powerful
record label to negotiate the fee. So, contacting and cost-effective, but this is entirely dependent
upcoming local musicians is usually a better on the filmmaker’s willingness to invest time in
option for indie filmmakers. Every town has scouring the platforms for the right track.
some upcoming artists and bands, and you could A lot can be learned about film music by
offer them a small fee, and give them credit and watching a movie again while paying close
publicity in as many ways possible. We could attention to the music. Which scenes have the
do the same with a beginner composer who’s most prominent music? How does the music
looking to build their portfolio. It’s surprising mesh with the dialog and other sounds? Which
how many people will respond to an unsolicited scenes and moments have no music at all? We
email or tweet. don’t need an understanding of musical theory
The second option is to compose the music to be able to notice and form opinions about the
yourself. way other films use music.

Digital Filmmaking I 65
 3.4 COLOR GRADING

Color correction is the technical process of (i.e., lose detail) or the shadows will merge
fixing any color issues and ensuring that the together. I’ll often compare my frame to a
footage looks naturalistic and cohesive. Color screenshot from a film I like to make sure I’ve got
grading is a more creative process where we a similar look.
can use more stylized, expressive or abstract
tones for the benefit of the story. Color is
one of the many creative tools we employ to
make films, and everyone’s approach is a little
different. I like to work with the available colors
rather than dramatically changing the look. My
goal is usually to accentuate and complete the
work we’ve done on set, rather than make any
dramatic changes.

MY TYPICAL APPROACH

I’ll usually start by adding a film emulation LUT.

We can think of these emulations as a formula
that takes a specific camera’s data and converts
it to look more like footage shot by a traditional
film camera. Emulation LUTs can be purchased
individually for various cameras or included in a
Next, we can change the color temperature,
color grading plugin such as FilmConvert.
which makes the shot look warmer or cooler.
If we want a neutral look, and we’ve set our
camera’s white balance correctly on set, we
won’t need to make any adjustment; the color
should be neutral and balanced between the
warm or cool look.

Then, I’ll adjust the saturation. Most of the

time when I’m filming, I will have reduced the
From there, I’ll usually add some contrast camera’s saturation so we have more options
by tweaking the highlights, mid-tones, and with the color grading in post-production.
shadows. My aim is to bring out the strength This means our colors may look a little dull,
of the image by adding contrast until the image so I’ll typically increase the saturation. If my
doesn’t look too dark or washed out. But, if we software allows me to adjust the saturation of
push it too far, our highlights will blow-out the shadows, mids and highlights separately, I’ll
focus on the shadows.

Digital Filmmaking I 66
 Since we’re going for a neutral look, my goal is
for the points on the vectorscope to be aligned
with the “skin tone indicator.” This line shows us
the neutral tone of most skin tones, regardless
of race.

For this shot, I had to add a little bit of green

since the light on set was slightly red, and we’d
do the opposite if the light was too green. Once
the skin tones are sitting on that line, we can
disable the crop and look at the whole frame
again.

Once again we can use a comparison image

from a film to ensure we haven’t overdone the
saturation.

The last step of my basic color process is to This is my default daylight look. I used to believe
temporarily crop the image to isolate the skin that color grading had to be expressive and bold,
tones so my vectorscope (pictured below) can but now I’ve come to appreciate the simplicity
analyze the color. of the neutral look. I noticed when watching my
favorite movies that this color grading style is
incredibly common. Most movies will stick with
neutral colors unless there’s a logical reason
for a different color of light. We might make a
scene with a campfire more orange, or a scene
set in the middle of the night bluer. Concepts
like accuracy and consistency don’t seem very
creative, but for me, it’s about keeping the
audience immersed in the film. I usually don’t
want any color to be like that guy in the band
who insists on playing way louder than everyone
else. Of course, there are no rules in filmmaking-
this is just my approach.

Digital Filmmaking I 67
FIXING PROBLEMS

Sometimes, we can copy the color adjustments

from one shot and paste them onto every
remaining shot in the scene for a cohesive look,
but usually, we’ll have to make some individual
tweaks. If we have two similar shots but the
color doesn’t match as we’d like it to, we can
stack the shots in the timeline and crop one
Finally, if we were filming in low light and our
of the shots to reveal the second one beneath
footage looks too grainy, we can try to reduce
it. Now we can look closely to identify the
it with noise removal software. It’s never going
differences between the two shots and adjust
to look perfect, and we usually sacrifice some
accordingly.
sharpness in return for the noise reduction, but
We might need to adjust the shadows, midtones, it’s worth a try if the grain is distracting.
and highlights if the lighting changed in the
middle of our shoot for whatever reason. If we STYLISED LOOKS
used two different cameras to shoot a scene,
we might also need to adjust the saturation and We can go beyond the neutral, realistic look if
color temperature between the two images. we want to use color grading for creative effect.
We could brighten or darken a scene to change
the time of day or consider how that might affect
the emotion of a scene. Since these differences
tend to be subtle, the emotional meaning of
these looks is highly subjective.

We could reduce the contrast for a more

subdued, nuanced feeling, or pump up the
contrast and saturation if we’d like the colors to
However, any time we adjust the color
be as rich as possible. We could be really bold
temperature, we need to watch our highlights. If
and switch a scene to black and white, or we
we cool off the image, we’ll see that the brightest
could go wild with a totally abstract look (if that
highlights have now turned blue.
feels appropriate for the story).
We do still have one more trick to try. If we
use a color mask, we can select those problem
areas and desaturate our selection. Then, the
highlights will look more natural even though
we’ve cooled off the rest of the image.

Digital Filmmaking I 68
 3.5 PUBLISHING & MARKETING

I think many filmmakers neglect the marketing MARKETING

process because it seems so separate from the
artistry of making a film. We tend to believe that Despite the numerous places that we can show

our film speaks for itself, and simply focus all of our film, a major challenge remains. How do we

our attention and funds into making the best film convince people to watch our film? If we have

possible. Such a strategy can work since word of money to spend, we could plaster billboards

mouth is one of the cheapest forms of marketing. all over the world, and run ads and trailers to

If we can make something so good that the promote our film, but most of us don’t have

people who are watching it tell other people such funds at our disposal. So, we can start by

about it, we might just find our audience. But, if identifying our core audience. If we’re hoping

we’ve spent weeks, months, or years producing that our film will spread by word of mouth, we’ll

our film, we’d be doing ourselves (and the cast & need to identify the people who are most likely

crew) a disservice if we didn’t put some special to tell someone else about our film and reach as

effort into the marketing and distribution of our many of them as possible. It’s impossible to make

film. After all, the more successful the movie is, something that everyone gets excited about, so

the easier it’ll be to fund our next project. we need to find our core audience.

These are the people who are going to watch the

PUBLISHING film as soon as it’s released they are the people
who are most likely to share it on social media.
We can enter film festivals in the hopes of our If we’ve made a documentary about a vintage
film being be shown to some audiences and electric guitar that’s been played by many
possibly connecting us to valuable industry famous musicians, we can identify some specific
people. If our goal is to reach the widest possible groups of people who might care about this film
audience, we could put the film on YouTube or more than the average person:
Vimeo for free, perhaps as a calling card to get
a bigger project funded. If our online audience • Vintage electric guitar owners/collectors
is large enough, we might even earn revenue
through crowd- funding, merchandise sales, or • Guitar teachers

product placement. We can approach Netflix,

• People who work in guitar stores
Hulu and the other streaming services, which are
constantly searching for high-quality content • Rock music enthusiasts
they can acquire. Alternatively, it’s easier than
ever to sell digital copies of a film directly to the • Fans of the artists included in the documentary
audience.

Digital Filmmaking I 69
That’s just one angle from which to look at it. If live-action remakes and Hollywood’s superhero
we’re trying to identify the core audience for a sequels, it’s clear that one way to get people to
period drama, we might think of historians or the cinema is by making a film about something
fans of the actors in our film or people who live they already care about. Nostalgia is a powerful
in the town in which the film is set. thing, and it’s very easy to identify the core
audience of a film about a character from a book
Once we’ve looked at our film from every angle,
or previously successful film.
and identified the qualities that could resonate
with different groups of people, we can consider Regardless of what our film is about, and how
the various ways we could reach those people much money we have to spend on marketing, we
to tell them about our film. To reach the vintage can always aim to identify our core audience and
guitar enthusiasts, we could put a poster in a target them with an advertising campaign that
vintage guitar store, perhaps promoting a free provides some good reasons to watch our film.
screening of our film to generate some buzz. We
could pay for advertising space on websites or
at events that rock music enthusiasts visit. If we
IN THE END...
can directly focus our marketing efforts to reach
I’ve been learning and trying filmmaking for 10
the people who are most likely to get excited
years now, and there’s one thing I’ve started
about our film, our marketing budget will go
to accept. At the end of a project, regardless
much further.
of its commercial and critical success, my
After we’ve identified our core audience and film won’t turn out exactly as I’d expected. It
found a way to reach them, we’ve then got to probably won’t be as I’d hoped it would be, and
consider how we might convince them to spend it is guaranteed to be different from my initial
their time and/or money watching our film. Our vision. People are not perfect, and there are far
trailer, title, movie poster /thumbnail should too many factors involved to make a perfectly
all be carefully designed with that in mind. Will precise film. Every project is truly an emotional
people decide to watch our film because it’s rollercoaster, taking me from moments of
shocking, tense, scary, and appealing to the basic disaster to thinking I’m a creative genius,
human curiosity for drama and thrills? Can we and then back to the crushing doubt of my
market our film as something that will make the expectations. I constantly battle with the feeling
audience feel good? Will it warm their hearts or that I should have learned more by now, made
make them laugh? Is there an element of novelty more by now, and achieved more by now.
or something impressive about the film we can
capitalize on? “Tangerine”, the first mainstream
film shot entirely an iPhone was heavily
reported on by the news and media due to the
camera it was filmed with. “Boyhood” made
headlines because it was filmed over the course
of 12 years. With the huge success of Disney’s

Digital Filmmaking I 70
People say, “If you find a job you love, you’ll So, if I could go back and tell my younger self one
never work a day in your life”. It’s a lovely idea, thing, I would say that filmmaking is not easy.
but this school of thought leaves me feeling There will be lots of mistakes that need to be
pretty disillusioned when the job that I love made and learned from, and that can’t happen
starts to get tough. Maybe I just haven’t found overnight. That said, it’ll be far easier to stay
the right job yet, but I have a suspicion that all motivated when things get tough if you can learn
jobs have tough days that really feel like work. to enjoy the process of learning and improving.

Digital Filmmaking I 71
DIGITAL FILMMAKING
S I M O N C A D E

Digital Filmmaking I 72