Some basic rules of filmmaking...

How to really watch a film is a simple task that will prep you in your filmmaking venture.   First lets start with some simple rules. Yes even filmmaking has rules. Lets start with the 180 rule. It can be cheated but most filmmakers rather not.



180 RULE
http://youtu.be/y4wX_dmh8_g

As you can see in the image the camera stays on the right of its subjects. There is an imaginary line the keeps the camera(s) on the side. This is easy for when you take your film into post as well. You won't give the editor a difficult task.  Also never have your actors cross camera or have one blocking out the other. For example if your doing an over shoulder you want to be able to see your subject facing camera so you catch their dialogue & if there is an expression  on their face involved. Your audience needs to see this as its important to your respective film.


                                            TECHNIQUES THAT BRING EMOTION

                                                Push and Pull with Quick Cuts Technique

Hurt Locker

                                                   http://youtu.be/dxB5M1L2I9s

Not to many filmmakers use this certain technique. But to me for intense films like the Hurt Locker it works really well. If you watch this clip from the Hurt Locker you'll see this technique. It simply means the camera zooms in quick then pulls out just as quick. Plus adding fast cuts really brings your viewers into the film more and brings forth emotion. Indy filmmakers do tend to use this technique more then studio films. But its best if you can find a good D.O.P./Cinematographer that knows this technique. Also it helps if you have a great Producer/Director that will listen to a cinematographer that knows it.


                                                                  SLOW MOTION

                                                                           DRIVE
                                                             http://youtu.be/i5ufgkJ-uVE


Slow motion will really bring out the emotion in your film.  Yes its best to add that your going to use slow motion within your film so you know the area or areas you'll be using it. Take DRIVE. A Masterpiece in filmmaking. In the scene listed the slow motion really bring out emotion.  As an indy filmmaker you need to stand out and tell a great story.  Your telling a story with moving pictures.  Slow motion really captures RAW emotion.


                                                           

                                                     B & W  And Playing with Shadows                  

                                                         http://youtu.be/mCUW4SwmfGc
                                          My video with push & pull plus playing with light

Black and White really sets a certain mood for your film. Take the 1922 film Nosferatu directed by F.W. Murnau & written by Henrik Galeen for instance. A classic silent film to where the B&W really fit this dark tale.  But in the clip I've chosen from this film you'll see the shadow of the Vampire walking up the stairs. Using lighting techniques to play around with shadows is artistic expression. In Django Unchained Tarantino using this brilliantly. You'll see the character Broomhilda  laying with her back to a door. Then the shadow of Django appears. People instantly know who it is. Same technique was used in Raiders of the lost Arc. You see Marion at her bar and the shadow of Indie appears. This technique is very effective.


Main thing for indy filmmakers to realize that different is good. Using these and learning other techniques will help make your film(s) stand out. You'll often run into jealous people. But stay true to who you are. Its better to be humble in this business then being a jerk. I am friends with some great filmmakers and they stay level headed.


                                                                  Important Things
- NETWORKING:

 

Networking with other filmmakers, actors, writer etc is a great idea as well. There are great sites like mandy.com  to help you find different people in your area looking to get experience. Film school is an option in networking. But with most film schools they'll teach you mainly what everybody else is doing. Like said you want to stand out. I know where I live there is places for people interested in the film business to meet up at. If you have this option then please go to them.







- KNOW YOUR AUDIENCE


This is important. Not everybody is going to like horror and not everybody is going to like drama. People have different tastes. So know your audience. Its good to know every genre of film. I like horror but have mainly done drama. If your first film is a horror and people like it. Then stick with it. But always try to re-event yourself to stick on the lines of being original. Its fine if you use techniques of coarse that you've seen in some of your favourite films. Or there is a certain filmmaker you love and you decide you like their style so you use it. Thats fine to. But also find your style as well.




Please support indy filmmakers and their films. Just because something is independent does not mean that its not going to be any good. I'm listing a few sites where you can catch some great independent short films below. Happy Filming.

http://www.blinkamovie.com

https://vimeo.com


Also youtube has some great shorts...

Corey Sim
TIME KNOWS FILMS Productions ©

Does cameras really matter. Low budget filmmaking.

When doing a feature to short film does a camera really matter in the end or how expensive your equipment is? If your one that answered "YES" to this then you've answered wrong. Do you really believe your average film goer that is watching your respective film or any film is saying "Gee I wonder if they used the RED ONE or a Canon 5D Mark II to shoot this film".  If you think that then really you have no purpose being in the business. Here's the truth when it comes to filmmaking.  You don't have to have a lot of money. You don't have to have the best equipment. No what you do need is an original idea that will capture your audience. A good story is the key. Unless your a studio film because they in fact can afford to blow $250,000,000.  But even in Hollywood through word of mouth if a story is well done people will goto it. Granted there are a lot pop corn flicks circulating amongst us but again those are studio driven films and they can afford to present effects driven movies to the public because usually even if its poorly done they still do manage to cut a profit.  But now going back onto the subject. Cameras don't make your film. A good story does. Wether its about your dog Skippy. Or about your insane Aunt Dora. It doesn't matter as long as its a great story and its presented well.  So when listening to some who say well the Canon 5D is better then your mini DV. Just remember its also whose behind the camera as well and again the camera your using isn't important.  I've seen brilliant films shot on 8mm and saw others shot on a RED and they were horrible. They thought well I'm using what the Hollywood big shots are using that its going to be the best film out there because of the equipment. Yet it doesn't work that way. One of my first film shorts I submitted came in the top 4 out of like 66 other entries. It was shot on DV.  Mind you yes HD does make your picture look sharp and the quality is fantastic. But it was the story that caught every bodies attention. 

Well low budget filmmaking is simple and easy when you really have no money you look around you.  If you know somebody that has a home or you have a place yourself you take advantage of that. Just like if they own a pacific car you love and you want to shoot it then you simply ask. If they are great friends 9 times out of 10 they'll be all for it. The key in low budget filmmaking is saving money. First thing first...

- Writing & finishing your script

Of coarse this is important. You need a script if you plan on having actors a part of it and its a serous project.

- Small Crew

Keep your crew small but hope they are devoted to your projects. I've ran into a few problems myself where some skipped out even though I was giving them an AD credit in my film(s). Usually just out of film school grads are looking for the experience. 

- Actors(Mainly non union)

There are a lot of actors looking to get a fresh start and work on their craft.  The ones that are looking for any on camera experience are the ones you want because both of you benefit. Although if you can afford a little bit of money to offer an actor with more experience this to is beneficial to your projects as well. 

- Pre Production meet & read(s)

Usually blocking shots before shooting is your best bet. I've been on a lot of cold shoots and as a cinematographer that often is annoying.  It's manageable if you have to but if you get the chance to do blocking then in the end it will be a better experience for your cinematographer and yourself if your the director.  Plus do a storyboard or shot lists.  Less stress on yourself and your D.O.P./Cinematographer. 

It's also good if you have a pre read before you goto camera. Or ask your actors to do a monologue for you to see their strengths on camera. If in person you can work on it there. Often if you have an actor that you have just going strait at it with out any prep it takes them awhile to get it right and it waste a lot of time. And this in turn is not good if you have a location for a limited time only. 

- Green Screen It

If you can't get a location you so desperately want. Then simply green screen it.  It's a cheap and easy way to create locations that you want. 

- Doable Locations and then there's Gorilla 

If you have a home, apartment, shack etc Then use it. Or if you have friends with the same take advantage of that.  Like said great friends will let you.  I mean if they own a bar or a muscle car or have a smoking hot relative you want to use then go for it.  Use what you can and you have access to. 

There is also doing it Gorilla style.  Means going to a location you want and filming there with out a permit and then getting the heck out of there fast :) 

The whole deal here is to save  money if your an Indy filmmaker.  You don't need expensive equipment. We have a lot of great tools out there to help us out.  The true key is your imagination.