Tips on shooting my first real short.

H

harmonica44

My first real short I wanna submit after, with actors and crew. I've had practiced by shooting myself on camera and shooting other non-people stuff, but I couldn't get any practice with anybody since it was hard finding people wanting to practice on their craft for free. But now that I have actors and crew, and wanna start this short in the next month, after casting is decided, I could probably some tips.

Is there anything I should be aware of, or anything I could easily miss that I need to know, while directing a movie? I hope I got all my bases covered, but this business is full of surprises I don't see coming so far, and of course I wanna make it the best it can be for the cast and crew as well, and make a good impression, to get further work in the future. I hope not to do anything wrong that will ruin it. So is there anything I can I do to further the chances it will do well at the festivals? Thanks.
 
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Look for these sorta things: http://www.indietalk.com/showthread.php?p=211307#post211307

And mistakes are unavoidable.

You don't think all the household name directors don't watch their own movies and say "D@MNATION! That's a fkup. That's a fkup. That line wasn't written that way. There's a whole scene missing here. For timing we cut out the one tidbit that made these two other scenes geehaw. If we could have afforded better X, then... Etc... "?

They do.
You will.
 
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Yeah I know mistakes are unavoidable, I just hope to minimize the big ones. For example I still haven't been able to find any of those cardioid mics that were recommended to me. None of the stores where I live have them to order. I will try online next, but if it doesn't get here by the shooting dates, I will probably have to use the NTG-3 shotgun I have for the indoor scenes, which is every scene for this short. I will also try to order in those books on filmmaking that were recommended to me too. I have been slow on the ordering cause of my other jobs and getting this short put together but I will get on it, and hopefully in time.
 
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harmonica44 said:
Yeah I know mistakes are unavoidable, I just hope to minimize the big ones. For example I still haven't been able to find any of those cardioid mics that were recommended to me. * None of the stores where I live have them to order. I will try online next, but if it doesn't get here by the shooting dates, I will probably have to use the NTG-3 shotgun I have for the indoor scenes, which is every scene for this short. I will also try to order in those books on filmmaking that were recommended to me too. I have been slow on the ordering cause of my other jobs and getting this short put together but I will get on it, and hopefully in time.
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C O N G R A T U L A T I O N S !

You just popped your filmmaker cherry!
There's your first big (official) mistake!​


Dude! WTH?
The day you called everyone up in town and figured out no one had nothin' you shoulda been hitting that ebay BID button like a crack rat the night before rehab.

You'll be fine.

GL & GB.

* Haven't you already established you live where no one has nothing and there's hardly anybody with anything?
 
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I'm sorry but an NTG-3 shotgun mic is more than adequate to make a short film, even if it's all interiors.

I know the audio guys on here really recommend getting a cardioid mic for indoors but the dirty little secret is that 98% of short films shoot their indoor dialogue with a shotgun mic. I went to film school this year and they didn't even both teaching us about anything other than using the NTG-3. All the films I've crewed on have used just shotgun mic for indoors including the feature film I shot in Canada with (estimated) $250,000 budget.

If the NTG-3 is stopping you from shooting a short film then you must be psychotic.
 
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NickClapper said:
I'm sorry but an NTG-3 shotgun mic is more than adequate to make a short film, even if it's all interiors.

I know the audio guys on here really recommend getting a cardioid mic for indoors but the dirty little secret is that 98% of short films shoot their indoor dialogue with a shotgun mic. I went to film school this year and they didn't even both teaching us about anything other than using the NTG-3.
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The reason I so strongly recommend using a hypercardioid indoors is that I very seriously doubt harmonica and others in the same position will have the skills (or the patience to learn them) to properly use a shotgun indoors.

NickClapper said:
All the films I've crewed on have used just shotgun mic for indoors including the feature film I shot in Canada with (estimated) $250,000 budget.
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Just because it was used doesn't mean that they captured good sound. Did you hear the actual production sound (not the final processed dialog)? I have a client with a very expensive guitar, but she still plays like crap. Just because you have a top flight piece of gear does not mean you know how to use it to best advantage.
 
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Alcove Audio said:
Just because it was used doesn't mean that they captured good sound. Did you hear the actual production sound (not the final processed dialog)? I have a client with a very expensive guitar, but she still plays like crap. Just because you have a top flight piece of gear does not mean you know how to use it to best advantage.
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This is undoubtedly true but I think it misses the point I'm making slightly.

Obviously in an ideal world harmonica (and the rest of us) would have all the equipment in the world available to us but to hold back from making your first short film just because you 'only' have the Rode NTG-3 is lunacy. Even if you don't have someone who can use it expertly, I'm sure there's someone who can point it in the right direction- and he will be able to record usable dialogue.

The difference between harmonica's long feted first short film and a film where you'd want to have a tip top production set up is huge.

This forum is mainly full of people who started out by scrapping to make films with whatever they had. I made my first shorts on MiniDV camcorders and a little Sanyo Xacti. Older people will have made 'em on Super8 or weird VHS things, or whatever. That's the equipment you have and that's why you use it.

I honestly feel like it's counter productive to keep recommending someone like harmonica to get new equipment because he's bound to be one of those 'all the gear and no idea' filmmakers. The NTG-3 is a damn good mic. I recorded the sound for my short Woolies on it and I only own the NTG-2 personally.

I just feel like maybe he has the idea that if you're not a qualified, trained expert boom op then you won't be able to hear anything with a shotgun mic. It will work.
 
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I have a sound guy and he says he thinks he can make the NTG-3 work great. He has never made a short with that good of mic before so I am yet to hear how good he is with it, but is going to use it and show me what he can do.

I am still yet to find a venue to secure auditions at. Most of them where I live are booked months in advance for much bigger events. I'll still keep looking, but hope I don't end up having to use a friends house or something like that. And I still gotta get the cardioid if we decide he should use one. And still reading a lot to learn how to shoot this one too. I have not had as many actors respond to my adds as I would have liked and am constantly looking. And there's all the script re-writing and perfecting too. I just hope I am ready since doing all this has been a lot more tiring than usual, plus my job and haven't had time for much else. Not that I'm complaining, I just hope I am prepared to do as much as I can right, and that my tiring doesn't get in the way. But I've got a month till auditions are set.
 
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Since you don't have your own livingroom and you are afraid to ask friends: Rent a classroom or something... or a sportclub cantina.
Probably cheaper for you and good business for them.
 
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WalterB said:
Since you don't have your own livingroom and you are afraid to ask friends: Rent a classroom or something... or a sportclub cantina.
Probably cheaper for you and good business for them.
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Sure, thanks. It's not that I'm afraid to ask my friends, it's that I'm afraid it will look unprofessional and awkward to ask strangers I haven't met to come over to some strangers house.

Cracker Funk said:
Get as much coverage as time will allow!
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By that you just mean as many shots or what?
 
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Are there any hotels in your area? If all of their conference rooms are booked, rent a small suite for a day. Use the living room part of the suite for a lobby and ask the management to move the bed so you can set up a table and chairs for the audition room.

Another suggestion would be to track down a strip mall that has vacant spaces and ask the owner/management if you can rent one for a day. Don't forget the hold harmless agreement for the property owner. If things work out, you have a resource for your next film and could get some good locations out of it.
 
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NickClapper said:
Older people will have made 'em on Super8 or weird VHS things, or whatever. That's the equipment you have and that's why you use it.

I just feel like maybe he has the idea that if you're not a qualified, trained expert boom op then you won't be able to hear anything with a shotgun mic. It will work.
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Ahem... not 'older' people, just 'easier to insure' people... ;)

However, I would agree with this because I am doing exactly this - just 'getting by' on my first 'real' short and crossing my fingers. I figure it's better to get out there and start shooting, gradually building up the kit and skills rather than hold myself back due to 'lesser' kit.

My inspiration is Tom Hooper. Bizarrely I went to school and was in the same year as Tom, the Oscar winning director of 'The King's Speech' for six years (before his parents moved him away from my cr@p school to a really good school). Admittedly he was and probably still is a very intelligent person and a lot smarter than I'll ever be but he started with a camera and no sound at all! The fact he started with very little but just went out to shoot has inspired me.

Although he's better than I'll ever be.
 
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There are plenty of females wanting to have their chance to act, eventually they'll apply. I've been slowly transitioning from goofing off to getting serious with my work. Here's a few things I've learned;

Up until now, you've probably made a few vids with your family and friends. With actors you've never met, it's much different. For me, it was nerve-racking. You're meeting, filming and giving direction to someone you've never met before -- it's a very weird feeling the first few times.

Don't do thoses silly jumpcuts that we all make the mistake of doing we when first get started (even now). Try to have your actors go through the whole scene several times. This will look much better when edited, and you can use the soundtrack from the best take, making the scene sound more natural

Don't have others make you feel like you're being silly or unrealistic about making your own film, they'll try -- trust me! Ackwardness, strange stares, laughs, sighs -- IGNORE all of it! You're a director and you have a job to do. Politely tell them that you have work to do and you don't have time for them.

Good Luck!
 
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Cracker Funk said:
Get as much coverage as time will allow!
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Probably one the most important things said on this thread! I've learned this lesson the hard way this past month shooting my first 48 hour project. Make as much time as you can for shooting a scene and for numerous takes. The great Coen Brothers once said:

"Make the shooting schedule as long as you can, even if you have to sacrifice other things that seem important. The trade-off towards time for shooting is always the smart one to make. The big compromises you make are the result of not enough time to shoot. Cut anything that costs money...pay people less. You're always going to be better off the more days you have."
 
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