Once your screenplay is the best you think it can be, it’s time to consider turning that story into a film….
Phase 2: Grab Your Tools and Shoot…
WHAT DO YOU NEED?
ACTORS:
You’ve got your characters fleshed out, all with brilliant pithy dialogue, so now you’ll need actors to play the parts. Know any? Know anyone who knows any? You may move into the “what’s available to me right now” scenario, but it pays to make the effort to find the right person to fit the right character.
Spend good time establishing the character with each actor, allowing them to add their creative juices to the role, giving perimeters for them to work with, such as “being off book” by a certain date, what kind of wardrobe they’ll have (having them responsible for their own wardrobe, hair and make-up will give them greater artistic freedom and less headaches for you). Consider: Make sure each actor has the character well defined, and have that definition fall within your vision for the project. If actors show up offering a different characterization at the time of shooting, it may distort the theme(s), message or atmosphere you’re trying to convey to the viewer.
CAMERA:
Got a camera? Know some Joe who can lend you one? Chances are you’ll be shooting on an HD (High Definition) video camera that offers 1080p resolution—a higher number of pixels that creates a superior clarity over SD (Standard Definition). If money is much less of a burden than most would-be filmmakers, you can go for higher resolution cameras than HD like RED digital cameras that offer 4K, 5K, 6K, and 8K cameras. But those are for the guys with deep pockets. Of course there’s still celluloid film on 16mm and 35mm, but it has to be processed and then like RED you’re venturing into the “big bucks” arena. Ultimately, your camera choice will probably be made under the confines of “what’s available at the time” or “will my Best Buy credit card max out if I buy a cheap HD camera?” Many HD cameras use flash memory card slots so there’s no need to purchase video tape and the footage is easily transferred to your computer. All good news for the novice filmmaker as this has brought the cost of capturing footage way down! this is what From Concept to Completion
When you’ve got your camera, turn it on, play around with it, get out the brochure and read every page, so that when you get to that first day of shooting, you won’t have to figure out where the zoom button is, or where the auto-focus switch is.
TRIPOD:
Yes, we all want to be the next Stanley Kubrick or David Fincher and go “hand-held” as much as possible for that “truly artsy look,” but static shots very much have their place, so get a good tripod and just like the camera, know how it works (how high it goes, and also how low).
LIGHTS:
For interior shooting, some decent light packages really help, You can purchase three-point packages and also rent them. However, to cut down on costs, try if you can to rely on natural light that’s already there at each location: you won’t have to spend time setting up lights, and will then have more time to shoot). Just make sure that in medium/close-up facial shots, you don’t have unwanted shadows.
MICROPHONE:
Check out the quality of the mic on the camera and see how far back you can get from the actor before the sound quality diminishes. Consider getting an external mic, but as ever, check the quality/how it works prior to the shoot.
MISC:
It’s always good to have an array of things like duct tape, pens, note pads, make-up, slate board, etc. with you so you don’t get held back by not having something you need. Consider: If you use a clapper board, you’ll need an extra body on set to hold it in front of the camera. Personally, it’s a lot easier to roll the film/tape and then merely speak the information (Scene_ Take_) before you say “action!” From Concept to Completion
LOCATION(S):
From the very conception of your project, keep your eyes peeled for possible locations to shoot. In your mind you’ll have a vision of what you want each location to look like, but unless you shoot on a sound stage with set designers/dressers, you’ll have to compromise somewhere. Look for locations that may be interesting visually. Don’t be afraid to knock on doors and simply ask if you can shoot there. Be courteous and respectful, and you may be surprised how willing people are to help.
Once you have your location, figure out how much time you’ll need to shoot there (always overestimate), start deciding on a shooting date, and call the local film commission to see what permits you may need.
MONEY:
You, the director/producer/filmmaker en general, have to make decisions based solely on how much money you have for the entire project. Do you need special effects/expensive makeup for your film? If actors can’t supply them, will items for wardrobe set you back a little (or a lot)? Write down a list of what you’ll need, how much it will cost, and then look at how much money you have. If you don’t have enough, you’ll need to prioritize: will you pay your actors for their time, or will you just pay them gas money and feed them, and offer them a copy of the movie when it’s finished? Keep all receipts, and a notation of all costs, from burger buns to fake blood to DVD covers. One thing to remember: it doesn’t have to cost a lot of money. Chances are, the less money you have, the more creative you’ll have to be to overcome obstacles, and that’s the place where you’re going to learn the most about Indy filmmaking. Needs must, as they say.
SHOOTING SCRIPT:
So where are you gonna put the camera for that truly important shot? Usually you’ll have a choice of where to place it, but some choices will be better than others. Think about each particular shot, and what feeling/plot point are you trying to convey at that point in time. Remember that film is a visual medium (with the help of dialogue). Alfred Hitchcock learned his trade in the silent era, relying only a little on music. Therefore, the camera had to tell the story, and if you look at his later work (and I strongly suggest you watch as many good films as possible to see how other filmmakers use the camera) you’ll see long sequences where Hitch dispensed with dialogue and only used the camera (and sometimes music) to get the mood/story across (case in point: the crop spraying scene in “North By Northwest,” where Cary grant is attacked by a plane). You may want to study this sequence, From Concept to Completion or in “Vertigo” where James Stewart drives around San Francisco following Kim Novak, and see how the camera can “show the viewer the way….” From Concept to Completion Make a note of all shots you want, even sketching them if necessary (many professional filmmakers make sketches to ensure on the day they shoot exactly what they want).
Once you have your shooting script, your locations, dates to shoot, permits, etc., you’re ready to shoot. NB: Try to make every decision you can PRIOR TO THE DAY’S SHOOT. This way, you’ll have less to think about on the shoot, From Concept to Completion and as there’ll always be a fire to put out somewhere, the less decisions that have to be made on the shooting day, the better.
An editorial by Stephen Sloane