Any tips for a first time Director?
- Thread starter dwhs
- Start date
I think this thread will be successful if everyone posts one thing, different from the others.
Hmmm.
How about... don't forget to hire a 1st AD. I didn't think I needed one but there were too many times I had to deal with things the AD would be doing and take my focus away from the shot or the actors. Had a full crew except AD. Gave everyone an assistant except for me
Hmmm.
How about... don't forget to hire a 1st AD. I didn't think I needed one but there were too many times I had to deal with things the AD would be doing and take my focus away from the shot or the actors. Had a full crew except AD. Gave everyone an assistant except for me
Shoot plenty Coverage.
Yeah, the haters will say you're indecisive, you don't trust yourself, the actors will try to convince you that that last one totally nailed it and they cannot do better, or that doing something again everytime is eating up time or light or (least worth listening to) somebody's 'patience' or 'enthusiasm' ...
And too bad for them. They won't be sitting there WITH YOU looking at the million shots that all have to fit together like a puzzle ... and suddenly that shot you only had one of, that somebody rushed or missed something, that needs to connect the chain of shots into a meaningful sequence, DOESN'T WORK (and there can be a dozen explanations of how something went wrong, but it DOESN'T WORK)
And YOU need to be able to say, or tell your editor "well, good thing I shot coverage THEN, because I just saved our asses NOW"
So shoot coverage,
whether it's the backup repeat of some necessary action,
or another angle that will cover up an error elsewhere,
or an insert close-up (the actress looked away there, do you need to see what she looked AT?)
or an alternate reading of a line ("No, THIS one." vs "No, this ONE.") or ...
well, COVERAGE.
It's right there in front of you. All you gotta do is capture it, one more time, as back up!
Camera One? Got it!
Camera Two? We're good!
Camera Three? Ready when YOU are, CB!
etc
I've been on little guerrilla crews where time was so desperate, corners were getting cut, a couple of people were rethinking how to do it or change it as light died or deadline approached ... and it's a nightmare.
SOMETHING ALWAYS GOES WRONG. Forewarned is fore-armed.
Coverage is your best defense.
Yeah, the haters will say you're indecisive, you don't trust yourself, the actors will try to convince you that that last one totally nailed it and they cannot do better, or that doing something again everytime is eating up time or light or (least worth listening to) somebody's 'patience' or 'enthusiasm' ...
And too bad for them. They won't be sitting there WITH YOU looking at the million shots that all have to fit together like a puzzle ... and suddenly that shot you only had one of, that somebody rushed or missed something, that needs to connect the chain of shots into a meaningful sequence, DOESN'T WORK (and there can be a dozen explanations of how something went wrong, but it DOESN'T WORK)
And YOU need to be able to say, or tell your editor "well, good thing I shot coverage THEN, because I just saved our asses NOW"
So shoot coverage,
whether it's the backup repeat of some necessary action,
or another angle that will cover up an error elsewhere,
or an insert close-up (the actress looked away there, do you need to see what she looked AT?)
or an alternate reading of a line ("No, THIS one." vs "No, this ONE.") or ...
well, COVERAGE.
It's right there in front of you. All you gotta do is capture it, one more time, as back up!
Camera One? Got it!
Camera Two? We're good!
Camera Three? Ready when YOU are, CB!
etcI've been on little guerrilla crews where time was so desperate, corners were getting cut, a couple of people were rethinking how to do it or change it as light died or deadline approached ... and it's a nightmare.
SOMETHING ALWAYS GOES WRONG. Forewarned is fore-armed.
Coverage is your best defense.
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Keep your actors happy...make sure plenty of food and refreshments are available and provide adequate breaks. Nothing can screw up the atmosphere of a set more than a petulant, hungry and tired actor.
Great stuff, half the main chacters are my friends that are professional actors here in Hollywood. Th funny part is they still want to get paid lol But I think If I say food and transpo they should be fine.
I have two cameras, I hope that is enough.
The screen play has room to breath but covers the time needed.
The lighting and the camera movement are my big concerns at the moment. I'm thinking I need to rent tracks to roll the camera on and buy three high end stand up lights? Also the computer to edit it, I was going to use premier and a high end PC.
I have two cameras, I hope that is enough.
The screen play has room to breath but covers the time needed.
The lighting and the camera movement are my big concerns at the moment. I'm thinking I need to rent tracks to roll the camera on and buy three high end stand up lights? Also the computer to edit it, I was going to use premier and a high end PC.
Hey! Venice! I used to live at 1305 OFW, old 1940's looking mustard yellow building -- probably long gone! Many long drunken nights down at the Sidewalk Cafe. Loved Venice, used to pad down the alleys in barefeet and push through the junkies, winos, and inland tourist girls (who needed to get their butts out of there before the locals ate 'em up) to buy my diet cokes ... Those were the days ...
SOUND! AUDIO! Be extra careful you get not just serviceable, but fully GREAT audio! As many books and experts will warn you: funky VISUALS the audience can accept as part of the artistic "vision" ... but BAD SOUND is instantly "amateurs-ville" daddy-o! Murky visuals is "film reality" but bad sound just sucks ...
Tommy Chiliburgers down by the Venice Post Office ... I loved that place. Sea gulls tried to kill me on the beach once, until I surrendered my chiliburger and fries! It was Hitchcock at his most terrifying!
SOUND! AUDIO! Be extra careful you get not just serviceable, but fully GREAT audio! As many books and experts will warn you: funky VISUALS the audience can accept as part of the artistic "vision" ... but BAD SOUND is instantly "amateurs-ville" daddy-o! Murky visuals is "film reality" but bad sound just sucks ...
Tommy Chiliburgers down by the Venice Post Office ... I loved that place. Sea gulls tried to kill me on the beach once, until I surrendered my chiliburger and fries! It was Hitchcock at his most terrifying!
Sesssions can run long and unproductive if you don't keep things moving along. People can often get sidetracked at the refreshment table, lost on conversation about how cool everything is GOING to be ... then the time is gone before you know it. Keep it FUN, but keep it moving forward.
No matter what, have someone on set taking still photos and behind the scenes video daily. Useful for so many reasons.
Best of success
Q
Best of success
Q
Don't forget to be an actor's director! This means rehearsing, giving them concise, playable direction (tell him, "I want you to plead with her," instead of saying, "I want you to be sad."), and most importantly understanding the script inside out. You are the man with all the answers, be prepared.
A few tips I think that would be helpful that have helped me on smaller projects.
1) If you want your actors to do something a different way, like a line, don't be afraid to tell them; HOWEVER, make sure it's in a constructive nice way. If you are in any way conveying to them that you are dissatisfied, that can wreck their confidence, and spiral downward in their performance. Try something along the lines of, "You know I really liked what you did, but also could you try it this way for another shot, I'd like to see how it turns out."
2) Have someone on the set who you can depend and trust on that you can step aside with if things get too crazy and vent to. It was invaluable for me on just the small projects. I'd take him aside and just go, "I have NO idea what to do about this, holy crap, I'm in deep." After talking to him for a few minutes, being able to step out of the 'big guy director' attitude and just be in the 'what's going on' attitude, helped a lot. I do this because you really don't want to break down like that in front of the crew or actors lol... doesn't inspire the best confidence.
1) If you want your actors to do something a different way, like a line, don't be afraid to tell them; HOWEVER, make sure it's in a constructive nice way. If you are in any way conveying to them that you are dissatisfied, that can wreck their confidence, and spiral downward in their performance. Try something along the lines of, "You know I really liked what you did, but also could you try it this way for another shot, I'd like to see how it turns out."
2) Have someone on the set who you can depend and trust on that you can step aside with if things get too crazy and vent to. It was invaluable for me on just the small projects. I'd take him aside and just go, "I have NO idea what to do about this, holy crap, I'm in deep." After talking to him for a few minutes, being able to step out of the 'big guy director' attitude and just be in the 'what's going on' attitude, helped a lot. I do this because you really don't want to break down like that in front of the crew or actors lol... doesn't inspire the best confidence.
I'm an actor , going into Directing now , and this is some really good advice . I have worked with Directors that , unfortunately , wanted to see the scene play the way they themselves would play it . It causes stress by telling the actor that they're only filling shoes and not appreciated for their ability . As a Director , you must trust that we ( actors ) have the role within us and trusting us to do our job is the best way to get what's needed . Rattled nerves and fallen confidence can spread on set like wildfire and overwhelm your entire production before you know what hit you . Break a leg !A few tips I think that would be helpful that have helped me on smaller projects.
1) If you want your actors to do something a different way, like a line, don't be afraid to tell them; HOWEVER, make sure it's in a constructive nice way. If you are in any way conveying to them that you are dissatisfied, that can wreck their confidence, and spiral downward in their performance. Try something along the lines of, "You know I really liked what you did, but also could you try it this way for another shot, I'd like to see how it turns out."
2) Have someone on the set who you can depend and trust on that you can step aside with if things get too crazy and vent to. It was invaluable for me on just the small projects. I'd take him aside and just go, "I have NO idea what to do about this, holy crap, I'm in deep." After talking to him for a few minutes, being able to step out of the 'big guy director' attitude and just be in the 'what's going on' attitude, helped a lot. I do this because you really don't want to break down like that in front of the crew or actors lol... doesn't inspire the best confidence.
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I have a few tips:
* Use a boom mic, and record sound. That's super important for low-budget work. And I know this sounds silly but...the boom mic does extend you know...just holding it in the room isn't going to work...get the mic as close to vocal range as the framing will allow. You'd be surprised how many novice crew members recording sound will just stand there with boom in hand...no where near where they should plant the mic.
* Scheduling is a HUGE issue. Make sure you set a super-awesome, water-tight schedule with your crew and talent. Because no matter how awesome it is...it will fall apart in some way. The tighter the drum, the more easily corrections can be made (and they will need to be).
* Don't hire shady actors. Don't hire crappy actors. Unless you live in podunk Alabama (no offense) and don't have a choice...take your time finding good actors--they will sell your film. OK and of course...don't hire shady crew either.
* Backup all your work...three separate locations isn't an odd thing.
* Don't put together a budget of 50-100K for your first feature. You can make a very solid indie picture for under 10K. Make it happen. Sweat equity all the way!!!
* Don't hold a red carpet fund raiser for your little-big film. It will either fall apart and be a waste of time and money, or when people finally see your little micro-budget piece of junk...they'll understand exactly what hot air is all about. Be humble if your production is humble. You'd be surprised what a tiny little fund raiser in a cool bar can do--you save money, it's not pretentious, and expectations aren't sky high.
* Don't post a crappy teaser or trailer just because you're anxious to get it seen. Wait until you think it's the best it's going to be. Or at least, the best that particular iteration is going to be.
* Feed your cast and crew if they are working a full day on set. You probably won't be paying them...so make sure you feed them. It doesn't have to be awesome food...just make sure it's something.
* Don't put out a poster or flyer with bad graphic design. Your poster is a very important piece that will bring interest and audience members to the link or the seat to see what this bad ass poster is about. Crappy click and stick Photoshop work is a bad bad thing. If you're shooting a feature, spend a few hundred on a quality graphic designer...it's worth it.
* FINISH YOUR WORK
* DO SOMETHING WITH YOUR FINISHED PRODUCT
* Don't go hand-held, just because you think it's cool or edgy. Or because you're lazy. And if you don't have a fluid head for your tripod and you can't pan up and to the side at the same time without a jerking motion...it may be worth it to save for one. Use hand-held sparingly. The tripod is your friend. Framing shots properly is important.
* If the camera moves (dolly, track, pan), make sure there is a reason it's moving.
* Don't put the camera in any location an audience member couldn't be (ie. in a fridge)
* If you're using DOF (lenses and adapters), don't overdo rack focuses. You don't want people to even know you're doing it.
* PERFECT. NOW DO IT AGAIN!
* You can't fix everything in post.
OK...I'll STFU now. Those are just a few of the things I notice on indie work and/or with inexperienced film makers.
Good luck.
* Use a boom mic, and record sound. That's super important for low-budget work. And I know this sounds silly but...the boom mic does extend you know...just holding it in the room isn't going to work...get the mic as close to vocal range as the framing will allow. You'd be surprised how many novice crew members recording sound will just stand there with boom in hand...no where near where they should plant the mic.
* Scheduling is a HUGE issue. Make sure you set a super-awesome, water-tight schedule with your crew and talent. Because no matter how awesome it is...it will fall apart in some way. The tighter the drum, the more easily corrections can be made (and they will need to be).
* Don't hire shady actors. Don't hire crappy actors. Unless you live in podunk Alabama (no offense) and don't have a choice...take your time finding good actors--they will sell your film. OK and of course...don't hire shady crew either.
* Backup all your work...three separate locations isn't an odd thing.
* Don't put together a budget of 50-100K for your first feature. You can make a very solid indie picture for under 10K. Make it happen. Sweat equity all the way!!!
* Don't hold a red carpet fund raiser for your little-big film. It will either fall apart and be a waste of time and money, or when people finally see your little micro-budget piece of junk...they'll understand exactly what hot air is all about. Be humble if your production is humble. You'd be surprised what a tiny little fund raiser in a cool bar can do--you save money, it's not pretentious, and expectations aren't sky high.
* Don't post a crappy teaser or trailer just because you're anxious to get it seen. Wait until you think it's the best it's going to be. Or at least, the best that particular iteration is going to be.
* Feed your cast and crew if they are working a full day on set. You probably won't be paying them...so make sure you feed them. It doesn't have to be awesome food...just make sure it's something.
* Don't put out a poster or flyer with bad graphic design. Your poster is a very important piece that will bring interest and audience members to the link or the seat to see what this bad ass poster is about. Crappy click and stick Photoshop work is a bad bad thing. If you're shooting a feature, spend a few hundred on a quality graphic designer...it's worth it.
* FINISH YOUR WORK
* DO SOMETHING WITH YOUR FINISHED PRODUCT
* Don't go hand-held, just because you think it's cool or edgy. Or because you're lazy. And if you don't have a fluid head for your tripod and you can't pan up and to the side at the same time without a jerking motion...it may be worth it to save for one. Use hand-held sparingly. The tripod is your friend. Framing shots properly is important.
* If the camera moves (dolly, track, pan), make sure there is a reason it's moving.
* Don't put the camera in any location an audience member couldn't be (ie. in a fridge)
* If you're using DOF (lenses and adapters), don't overdo rack focuses. You don't want people to even know you're doing it.
* PERFECT. NOW DO IT AGAIN!
* You can't fix everything in post.
OK...I'll STFU now. Those are just a few of the things I notice on indie work and/or with inexperienced film makers.
Good luck.
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We all are, it's part of being a director, and that was all really good advice.
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