Indie Film – From Concept to Completion (Part 3)

Indie Film
EDITING SOFTWARE:

So now you’ve got a bunch of shots, and it’s time to turn it into a cohesive film. It’s been said that directors should never edit their own films, as they’re too “close” their creation, and might not make the best choices. Baloney. If you’re going to learn about what works and doesn’t in filmmaking, you have to understand the editing process, and you can’t do that by looking over someone else’s shoulder.  Once you get a decent understanding about what works with pacing, etc., your editing experience will make you a better director next time out, if only for the reason that you’ll realize you really should have shot more B-roll or establishing shots to cover up possible mistakes.

There are quite a few types of editing software out there: Apple’s Final Cut Pro X (FCP), Filmora Video Editor, Adobe Premiere Pro, Avid Media Composer, Lightworks, Sony Vegas Pro and Avid Media Composer. Or, you could make simpler editing choices on iMove which comes with most Apple computers.

Editing packages can be daunting, and it’s recommended that supplemental books such as Final Cut Pro X Advanced Editing be purchased.

When you’ve got your first rough cut, get back to that person you know who’s done it all before you. Ask him/her about pacing (crucial, especially in a short film), or anything s/he sees as questionable (shots too dark, sound muffled, etc.), Then, as with the screenplay, get in there and create another rough cut, And another, and another. Until you, and those wise heads around you truly think you’ve got the best possible cut you can have.

GETTING IT OUT THERE:

Now that you’re done, it’s time to ask: How are you going to market your film? There are about 300 film festivals yearly (check out “Withoutabox” or “Filmfreeway.com” online), and then there are a myriad of websites where you can upload your movie for others to see (such as You Tube). And then it’s time to consider who you know in Hollywood who’ll take a look at your work. Perhaps your Uncle Frank knows a guy who knew a fellow whose late brother’s fishing buddy’s plumber used to service a guy who worked at Universal. Send him a copy. Can’t hurt. Knowing people is what it’s all about in an industry that’s not that big, really.

Consider: Your film is really your calling card, so make sure you have a bunch ready to hand out. And don’t skimp on things like cover design: make it as good as you can with what you have to work with—they’ll see the cover before they see the film, so try to impress, and don’t forget to put your contact info on each copy. Remember, if your work’s that good, you only need to connect with one person who may know someone who….

And Finally…The most Important Things I learned first time out…

1) Wear as many hats as possible – too many cooks spoil the broth, and waste your time.

2) Get good committed actors.

3) Spend as much time as possible with your actors before shooting to

establish character.

4) Consider what film is really all about to you. For me, film (indeed, art) is

the exploration of humanity. Who cares about this? Well, if your characters

aren’t engaging/interesting, it doesn’t really matter how many dazzling long

shots of beautiful vistas you have; sooner or later the audience will fall

• asleep. Take “Lawrence of Arabia,” for example. Wide 70mm shots of the

open desert were captivating because they reflected the inner turmoil of a

flawed protagonist. Take Lawrence out of the movie, and you have National

Geographic.

5) Remember most to have belief in yourself: you can do this; it’s a long road, but to coin a recent mantra: “Yes, you can.” Indie Film

An editorial by Stephen Sloane