Site Meter Making Indie Films » DIY

DIY

Getting read and getting seen… (File under Exposure)…

Friday, October 19th, 2007

Bikini Chick
As a filmmaker or writer it is important to make good work, but it is equally, if not more important, to get that work read or seen. If nobody reads or sees your work then the quality will go unnoticed and your skills will pass without recognition. No - I’m not saying prepare your Academy Award speech or get ready to collect a trophy at Sundance - I’m just saying do the diligence to get your work seen or read.

There are many ways to send out work or get it seen. Obviously for completed works there are the obvious festival routes and screenplay contests. However, there are also more offbeat ways to get your work noticed. Perhaps you have friends in the business or other filmmakers that you kick-around-with… Well, there is never any harm in getting them to read your script or you can perhaps even organize an impromptu screening for other filmmakers in your home or at a small local venue. The key is to generate interest and put your work out in the world. Building a website with your trailer and clips or posting on YouTube is another way to generate interest and have people looking at your stuff.

When it all comes down to it, perhaps you just have to start sending out emails to engage with people. You can send pitch letters or introductions or even the tried and trusted screenwriter query letter. The unfortunate fact is, your success will be more about your level of diligence than your level of skill. Remember - the indie film business is built on hard work and tenacity. Now repeat after me - I WILL GET MY WORK SEEN - I WILL GET MY SCREENPLAY READ! Say it 100 times. Say it until you believe it and then start sending out those emails!

Below is the trailer for 30 DAYS OF NIGHT… Not sure if it’s a Halloween winner or Halloween whiner…

Body and soul…

Thursday, October 11th, 2007

halle berry

One of the hardest parts of being an independent filmmaker or writer is keeping body and soul together while you do it. What I mean by this is simple stuff, like writing or shooting and paying the rent at the same time. Oftentimes it will be tough - almost impossible. You have worked hard, but are seeing limited cash returns on what you have made or written. This is nature of doing things creative. If you prefer the regular paycheck - then go work in a bank. Still, life isn’t always about money - sometimes it’s just about making work that you believe in. If you can somehow just keep-on keeping on, then I promise that you will ultimately get the recognition and pay-off that you seek. Meanwhile, try to find ways to use your skills to make ancillary cash. There is often unusual paid work out there for filmmakers and writers if you just do the diligence and seek it out.

Aside from cash money, I really enjoyed the trailer for BE KIND, REWIND - the latest from kooky frenchman, Michel Gondry…

Deadlines, deadlines, deadlines…

Wednesday, September 19th, 2007

Alicia Silverstone nude
I am on another deadline this week, so today’s post has to be extremely brief. Above is Alicia Silverstone posing nude for a Peta ad, which quite caught my eye. Although it has nothing to do with John August’s directorial debut The Nines - I did find this fantastic clip (below) of Ryan Reynolds discussing his belly button from the movie… It is a terrific exercise in strange paranoia… And yes, you can just about see Alicia’s belly button in her Peta clip - which displays under Ryan…

We WILL get back to the filmmaking process tomorrow, when hopefully my other job is done…

Test your skills with a documentary…

Tuesday, August 28th, 2007

Don Magic Juan
These days making a successful documentary can be a good entree into the world of indy film. Aside from being highly respected, documentary filmmaking is a good place for you to hone your skills without the same obvious expense as making a dramatic feature. Documentaries can be about anything. You don’t actually need much of a crew to shoot one either.

After you’ve selected your subject - which can be anything from “a history of your uncle’s bakery in Vermont” to “your local Bishop, like Don ‘Magic’ Juan” (as pictured above) - here are ten tips that might prove helpful.

1) PLANNING IS KEY IN A GOOD DOCUMENTARY
Know who you want to interview or talk to. Know where you’re going to shoot and what you want to get. Rough-out the storyline as you would with a narrative feature.

2) BE FLEXIBLE
Things will change. A better story might reveal itself as you are shooting. Follow your nose. Go with the flow. If the documentary turns out differently than you planned (and it will) - be flexible - roll with it.

3) PROSUMER GEAR IS FINE - EXCEPT FOR SOUND
You can shoot your doc on any kind of prosumer camera, as long as it’s a step-up from a $200 palmcorder. But don’t skimp on audio. Rent, buy or borrow a professional shotgun mic. Sound is 80% of your doc.

4) ALWAYS BRING A TRIPOD & A FEW LIGHTS
Sounds silly, I know. But a great deal of what you’re doing will be long, static shots. So always bring a tripod and if you can, bring one with a nice fluid head that can pan smoothly. Same goes for lights. Have enough to shoot an interview. But not a truck full. You’re not trying to light Vegas.

5) SHOOT DOCUMENTARY STYLE
A documentary is about documenting people and things. That should be your focus. Don’t try to be Errol Morris. Your stuff will never look as pretty as his - so don’t try to match it. You will fail. Choose reachable goals.

6) YOUR JOB IS EDITORIAL
You will be judged on your documenting and storytelling ability. Not on how slick you can shoot and light. Don’t try to be flashy. Be simple and honest in your approach. It will be evident in the finished product.

7) FINAL CUT OR I-MOVIE DOESN’T MATTER
Jonathan Caouette who made the award winning Tarnation alledgedly edited the whole thing on I-Movie. Do I buy that? Not sure. Still, it doesn’t matter what you edit on. Again, you will be judged on editorial skill rather than crossfades, overlays and video compositing. If you can do that. Great! But you don’t need it. Just solid, reasoned editing.

8) ADD A FEELING OR SENSE OF PLACE
Yes. I know I said don’t be Errol Morris. But whatever you’re shooting - there will be extraneous things that add to the sense of place or mood or time. If you can. Shoot these things - even if you don’t use them later. At some point, you might need cutaways, or to make a montage with a voice-over. At that point you’ll want mood shots, maybe. So get them while you’re there in the first place.

9) PREVIEW YOUR MATERIAL AS YOU GO
The problem with shooting this kind of thing is not knowing what you have. It will be impossible to keep track. And the danger is you will keep amassing tapes - but not really know what’s on them. You may have missed things. You may have audio or picture problems. Where possible, review your material in an ongoing manner so you can fill the gaps or fix the problems. Know what you have before you finish shooting, or it might be a huge pain to fill the gaps after that.

10) LOG YOUR MATERIAL (OR FIND SOMEBODY WHO WILL)
Editing is tough and time consuming, but editing on paper is cheaper and easier. I didn’t say easy. If you got this far, you’ll know that nothing is easy. Anyway, if you can - log all your material and transcribe it. Get it down on paper or as a text document of some kind. Only start editing when you’ve done that. Better yet - edit on paper or edit as text and get a sense of the documentary before you start actually editing.

Well, there you have it. My top ten. It won’t be everybody’s top ten, but it’s mine and it works for me.

For some more insight READ an interesting interview with Ken Burns

Driving the Manfrotto Fig-Rig…

Friday, August 24th, 2007

Figgis and Holly Hunter
Filmmaker MIKE FIGGIS is a DV pioneer for numerous reasons. Not just for his groundbreaking digital movies like Timecode or Hotel - but because of his innovative use of new technologies and techniques. Perhaps one of his greatest yet lesser known contributions to indie filmmaking is the Manfrotto Fig-Rig…
fig rig 1
Tripod manufacturer Manfrotto worked alongside Figgis to develop a camera stabilizer that minimized ‘camera shake’ and at the same time allowed the same freedom of motion as working hand-held. Named after Figgis, this FIG RIG was also developed as a modular system - allowing the end user to attach accessories, including zoom controllers, mics, mixers, lights, monitors and arms to the same base unit.

FIG RIG 2

As you can see, the design emulates the look and feel of a steering wheel, but as well as turning left and right, you have a range of motion that is gyroscopic in nature. Any which way you want to shoot, the Fig Rig will follow. And attaching accesories like a mic and a zoom control give the thing added balance and flexibility.

Some of you reading this might think - oh, the Fig Rig - it’s old news dating back to the days of the PD150 etc. And you’d be absolutely right. However, I tested the Fig Rig with a SONY Z1 and the results were anything but old news. My hands aren’t particular steady, but with this thing I was rock solid and all those swishy pans and tilting zooms were possible. Granted the Z1 had been fitted with a VZ Zoom controller (which was strapped to the rig) - but still, using this contraption was simplicity itself. I can only imagine that with regular use anybody’s Fig Rig skills would improve - much the same as say a golf swing with practice. Okay - well maybe not a golf swing - but you get the picture.

At under $350 the Fig Rig is certainly an option worth considering for your next production. I am still curious if it could be used with the beloved Canon XH-A1 - I’m guessing yes. But I’m not certain how the Fig Rig would fare if your camera was equipped with a Red Rock and a bigger lens… I think I might try that next week, if the stars aline and my friends with equipment let me.

Meanwhile here are some Fig Rig resources…
The FIG RIG at a good price from Digital Foto
Various Zoom Controllers from Varizoom
Felicity Huffman chatting about the Fig Rig

DIY: $14 Steadicam

Monday, June 4th, 2007

This one’s a short one today, so here it is:

http://www.cs.cmu.edu/~johnny/steadycam/

If you want to learn how to make your own steadicam, follow the link above. Steadicams are nice pieces of equipment. They use a weight system to counterbalance a camera which is placed on the top of it. With the counterbalance, you can walk around with the steadicam and achieve steady shots with your camera; hence the name.

Now, this design isn’t perfect. Your shots won’t be silky smooth without a lot of practice, and even then it can be hard to get right. But it sure beats shelling out $400 for a Glidecam.

Go ahead, try it!

DIY: Essentials on Building a Dolly

Friday, May 25th, 2007

Today was an adventure for me as I embarked upon the journey to make my very own dolly.

“What’s a dolly?” you may ask. Well, I’ll tell you what a dolly is. A dolly is a staple piece of equipment for many professional and indie films alike. It usually consists of a track ranging from a length of 10 feet to 50 feet and sometimes even further. Professional tracks are generally made of aluminum and other light metals (whereas most DIY tracks are made out of PVC). Dollies are used quite frequently in films because they allow smooth movement of the camera to follow action and to create tension or add depth. With a dolly you can go forward, backward, side-to-side, and even diagonal. And with the right kind of tracking/wheel combination, you can even go in circles and big curves.

Dollies make a big difference in any film project, and are very very useful. However, to buy a professionally-made dolly from a vendor, you can spend hundreds of dollars for just a decent one. Most indie filmmakers can’t afford that kind of dough, so instead they make their own. And that’s exactly what I did; I made my very own dolly today!

Here’s what I did:

I took one of those studio dollies, the kind with the crappy rubber wheels and the three-prong design. They’re generally used by photographers in studios to move around a tripod easily. The heavy-duty kind are used in TV studios to move around those giant television cameras. The one I used is one of the cheaper kinds you can get off ebay and other discount stores.

The first important thing about DIY dollies are the way the wheels are mounted. To use them effectively, they should be mounted at an angle to help stay on the track. The use of angle iron allows a mountable surface just perfect for making the wheels angled. So I bought some angle iron with pre-drilled holes in it (how convenient) which you can get at your typical hardware store. Luckily the bolts from the studio dolly were just the right size to fit through the holes drilled into the iron, so all I had to do was screw in the angled iron where the wheels used to go. I really got off easy there. In most other cases you’ll have to drill through some metal to mount the iron to whatever you’re using, so be careful.

To aide with the mounting of the wheels, I bought some washers, bolts, and nuts. They were all 3/8″ size, but the sizes might be different according to invididual circumstances. I also got some nylon spacers to space the wheels away from the angled iron. Again, all of these parts can be found at a hardware store. Nothing obscure, I promise.

The second important thing about dollies are the wheels themselves. I’ve seen people use skateboard wheels, rollerskate wheels, and let’s not forget rollerblade wheels. To be frank, it doesn’t matter what is used, as long as the wheels come with bearings. Without bearings the wheels will catch and hang on the bolts used to attach them to the angled iron. With bearings, the rolling is smooth. I recommend using rollerblade wheels and nothing else. I bought a set of eight for $35 at a run-of-the-mill sports store.

The third important thing about dollies is the placement of the wheels. Certainly you can put them straight across from each other and it’ll work, but many people recommend to stagger them. You’ll see what staggering means by looking at the pictures below. The main reason you should stagger is because the weight of the dolly will be more evenly spread throughout the base of the dolly. If you come across a bump in the track, it won’t be as noticeable, if at all.

To mount the wheels, I used an “intricate” design I cooked up in this order: (from the outside to the inside) Bolt, wheel, nylon spacer, washer, angle iron, washer, nut.

Tighten the nut as far as you can, and it should stay firmly in place. You may need to loosen the nut a bit if you tighten it too far, to make sure the wheel turns properly.

In my design I only used eight wheels; two on each prong and an extra two on the lone prong. I’ve seen designs use just as much, but I’ve also seen some use 12 or 16.

Here’s the finished product with a tripod attached. Notice the handy tripod holders that came with the studio dolly. Most other designs will need to create their own notches to hold the tripod legs. This design really saved some work, but I recognize not everyone has a studio dolly lying around. What’s cool about the holders is that they’re adjustable, too. However the downside is that they won’t extent to their full length, due to the wheels obstructing the path.

Also note the track, which is made out of 1″ PVC piping and connected with 3/4″ PVC jammed in-between them. I bought them in 5′ lengths, which makes them easier to store and transport. Of course, you could buy 10 foot lengths at a cheaper price and cut them yourself, but where’s the fun in that?

On the ends of the track I cut some extra PVC and used elbow joints to create a buffer at the end. This keeps the tracks together in case they’re on a slight incline, or if someone is a bit careless with their extremities.

Here’s a top-down look to with an overall view of how it’s all laid out. Note the wheels are staggered.

Here’re a couple of angles to see how the wheels are attached.

The results of this contraption are very very smooth. I will eventually need a better tripod, and once I get my DVX I can certainly get some better footage. But here’s some test footage I shot with my Sony Cybershot to give you an idea of what a dolly shot looks like:

http://youtube.com/watch?v=R0xVtLwoeKk

The Cybershot isn’t very good in low light and fails to retain focus on anything. What looks like jumps on the track are most likely just the camera zooming in and out quickly to find focus. I promise I will update this article with better footage once my DVX arrives.

Remeber, this is my first attempt at building anything like this, so please take this design and advice with a grain of salt. There are literally hundreds of ways to make a dolly, but these elements have proved to be key amongst many different filmmakers.

As a side-note: One of the beauties of this design in particular is the portability of it all. If I wanted to transport this dolly on a long trip, I’ve made everything collapsible. All I need is a wrench to undo the bolts on the angle iron, and then the base will fold up, making all the parts relatively small and easy to transfer.

Not bad, eh?

If you want to see other designs and perhaps learn more about making dollies, feel free to visit the links below:

About Making Indie Films

'Making Indie Films' aims to be one of many rich and helpful resources out there on the web for the aspiring film-maker's in the world. On this site not only will you find tips to help make the job of film-making easier, but you will also find previews and reviews of upcoming independent films varying from those with shoestring budget to those with $1million+ budgets. Also on makingindiefilms.com you can look forward to finding reviews for audio, video, and other equipment designed for the art of video and film production.

'Making Indie Films' encourages and supports all aspects and types of film-making. Whether you're a little guy at the bottom of the pole, or a seasoned veteran looking for some light reading, we've got you covered. If you would like to contribute any ideas, or just tip us off to a great indie film in the works or about to be released, drop us a line via the forms below.

Making Indie Films Author(s)