Set Design is the craft of creating a background or setting thru the use of matte paintings, props, set pieces, etc. that accurately represents the tone, style and characters of a specific story or scene.

Good set design can produce a realistic environment for actors to work in, and can immerse an audience into the world of the film; producing a more enjoyable and believable experience.

Too often, low-budget films neglect to properly set dress locations, or simply don’t have the funds to create an interesting or accurate back drop for a scene; thus, making the films look cheap and flat.

Below are 11 simple ways to improve your set design- allowing you to produce a bigger, more realistic look for your film, cheaply and effectively.

1. Hang-up Christmas Lights

Christmas lights add a lot – they take up real-estate, add color (if you use the multi-color lights), and are cheap (possibly free if you have some lying around the house or wrapped-up in your Christmas box.)

Christmas lights are great for dressing a college or high school character’s room, parties, bars, etc.

A downside to Christmas lights, as with any prop, is they don’t fit every scenario. But, when appropriate, they add a lot of value for little to no work.

Note: Don’t use blinking lights. They are distracting and cause continuity problems in post.

2. Use Tapestry

Tapestries come in various shapes, sizes, and designs, and are perfect for hiding large, bare areas, especially white walls.

Select tapestries that are congruent with the character’s personality and that match the overall color scheme of the setting and costumes; this will create a more aesthetically pleasing picture for the audience while contributing to the story.

Tapestries are cheap – typically $15 – $20. You can find them at almost any Target, Wal-Mart, or Fabric Store.

Smaller tapestries can be used on top of night stands or coffee tables to cover blank spots.

In a pinch, you can use a bead spread and/or blanket.

3. Add Clutter

Decorating a set is NOT like decorating a living room. Sets require more detail, more objects. An average living room on film would look barren and bland.

Add clutter – anything that will take up space (books, magazines, little novelties, candles, records, etc.)

When you arrive on set look around and ask yourself, “where can I add stuff? Where do blank spots occur?” Even better, ask yourself these same questions once you’ve framed the shot.

Most sets will have a desk or coffee table, or maybe you’re in a diner and the characters are sitting at a booth. Add as much clutter to the desk/table/booths surface as possible – it will bring the set to life and give your actors more to play with.

Also, clutter gives your set more depth; giving you the option to place objects in the fore-, mid-, and background.

4. Light Candles

Candles come in every color imaginable, allowing you to match the color pallet of the set.

They add to the atmosphere and mood of a set and scene, even if it’s not a romantic setting.

Candles work especially well when placing in the foreground. They add a blurry glow that looks aesthetically pleasing and interesting, while consuming more empty space.

Another advantage with candles, they act as a lighting source. You can light a scene with candles and have them in the frame with the actor – killing two birds with one stone.

Note: The same holds true for lamps. Place the lamp on the light stand, replace the bulb with a lower wattage bulb, and put the lamp in the shot.

5. Add Plants

I recommend using plants with long, droopy veins – they are more interesting. However, non-droopy plants look good as well.

Plants offer lots of options – You can wrap ornaments or streamers around them, place lights on or behind them (which adds depth to your image), or you can place them in interesting plant holders.

There a SO many different types of plants in the world. Select plants (if possible) that reflect a character’s personality, nationality, or past experiences.

6. Paint the Walls

Unfortunately, most apartments and homes have white walls. However, for $50 you can buy a can of paint and recolor your walls.

While this might take a little time, it might well be worth the effort.

Painting the walls gives you more control over the color palette of your set and the overall mood of the scene.

If you don’t need the whole location, you can paint only the sections you will be using. This will save time and money.

7. Hang Up Pictures or Paintings

Pictures, posters, or paintings all work great.

You must be careful selecting pictures and paintings. Sometimes, a picture or painting can be distracting and will stand out too much or not fit the character’s personality.

Most pictures, posters, and paintings will need to be cleared for copyrights. If a poster has a logo or brand name displaying it will need to be cleared in order for you to use them in your movie. Note: Do this before production; it will save you a lot of headaches.

8. DVDs/Books/Records

As stated earlier, DVDs, books, and records add a lot of clutter.

They create depth, especially if you place them in or on a bookshelf.

Every one reads, listens to music, or watches movies. If possible, select titles that will match your characters.

You can purchase large collections of DVD’s, books, and records for cheap at various markets such as Good Will or a local flea market.

Note: Books are especially cheap. Lots of used book stores will sell you boxes of books for huge discounts, especially if you’re not concerned with the titles.

9. Curtains

Most apartments are filled with boring, white venetian blinds. Cover them up or replace them with a colorful, interesting curtain.

You can make your own curtains out of fabric which may be cheaper in some cases.

10. Picking a Good Location

Location, location, location.

A good location will have built in production value, and if you’re really lucky you may not have to add anything to it at all.

For example, I was scouting locations for an action scene once and during the process we found a junkyard that had so much going on in terms of set dressing that we didn’t add anything and it looked great. The dirt and junk created so much value.

11. People

If you’re filming a party, bar, or store sometimes people can be your best set dressing.

Fill in big gaps or empty tables with people. Set them in the mid and background; this will make your room appear much larger and give the illusion that more people are there.

Set design is often overlooked, but when given proper attention can add a lot of value to your film. It can and will greatly improve the look of your film, immerse the audience into your film, and create a more realistic environment for actors, giving you better performances.

I’m sure there are tons of ideas I’m leaving out or looked over. If you have any simple solutions or tricks to help improve set design be sure and leave us a comment, we’d love to hear what you’ve got!

As always, if you find this article helpful, SUBSCRIBE at the top of the page and SHARE IT with your friends~ Alexander Shumake

Making a movie is a constant race against time – no matter how ahead of schedule you think you are, at the end of the day you will still be rushing to finish a scene; there is never enough time.

There is no one way to film a scene when under a time crunch. However, there are many different techniques that can be used for your benefit; each one with their own advantage.

In this post, I’m going to tell you how to film a scene in 10 minutes; so that when you’re pressed for time you’ll be able to shoot your entire scene, without stress or complication.

1. Be Flexible

Normally, I always advocate for sticking to the plan – storyboards, notes, shot lists, etc. However, when the clock is ticking sometimes the best thing to do is improvise.

Check your notes – see what you need and what you don’t; then put your notes away. Often, it will be obvious where corners can be cut.

With your storyboards in mind, rethink how to shoot the scene with fewer set-ups while maintaining the emotional waves of the scene.

2. Don’t Stress!

Stress clouds the mind with negativity.

Try to reframe the time factor in your mind as a challenge, one that you will beat.

Stress is contagious – you can’t get good performances in one or two takes if you actors are worried about messing up.

3. Limit Your Takes.

Film no more than two takes per set-up.

Don’t be nit-picky; there is no time.

Remember, it’s better to have more coverage (if possible) than more takes of one set-up.

4. Show Them What You Want

Explain to your actors exactly what you want. Act it out yourself if you must.

Block the scene for them if you have to – show them the beats, show them where their marks will be. More often than not you won’t have time to properly stage the scene or rehearse it.

5. Start Wide.

As long as you have a master shot, you have the scene.

On the last shooting day of Killer School Girls from Outer Space we had to shoot twelve pages in ten hours. With limited time, we filmed every driving scene as a master shot; this worked well.

Yes, it is risky to shoot only a wide-shot, but sometimes that’s all you have time for. Make it work. Get it done.

Note: Once you have a master shot, move in for close-ups. Close-ups should be filmed in order of importance – start with the lead actor and move down the list.

6. Make a Joke.

Laughter is the best weapon.

Often, when you’re racing against the clock everyone is stressed. Cracking a joke will relieve most, if not all, of the tension. It lets the cast and crew know that you’ve got everything under control and that it’s alright if they mess up; you’re not going to beat them with a stick.

Below is a clip from the Killer School Girls from Outer Space blooper reel.

In this specific situation, the clock was running and we had to shoot 12 pages in one day! I could sense the actors were feeling the pressure, so for this take I instructed Denise Williamson to play a little prank on the boys. The guys were caught off guard and the spontaneity of it all really loosened everyone up.

7. Trust Your Instincts

Sometimes in the chaos of everything, you just won’t have time to shoot what you had planned. This is when your instincts will kick in with a quicker, easier way to film the scene; when this happens, go for it.

On set, time is always of the essence. Fortunately, there are a number of ways to beat the clock and get what you need. Above are some of the various techniques that have worked for me on set when pressed for time. I hope they work for you.

If you have any additional tips for filming a scene in 10 minutes that you’d like to share, or if you have any questions regarding this post, be sure and drop us an e-mail. We’ love to hear from you!

As always, if you find this article helpful, SUBSCRIBE at the top of the page and SHARE IT with your friends~ Alexander Shumake

Making a movie always carries with it the possibility of failure, whether you see it coming or not. Fortunately many warning signs exist that can help decrease your odds of producing a failure.

In this post, I’m going to disclose to you 7 warning signs I’ve discovered thru the process of making features that can help you and your film avoid catastrophe.

Below are 7 warning signs that your film might fail:

1. Not Commercially Viable

If a movie is not commercially viable – a product that can be sold/distributed for a profit –   it should not be produced.  Obviously if you are funding the movie yourself and just making it for fun or to learn the ropes, this doesn’t apply. But if you are in the Movie Business, you need to make movies that are commercially viable.

Before pre-production, examine your concept and title, and determine who your target audience is, and how you can market it to that audience. If an audience or niche cannot be identified, then scrap the idea and move on.

Don’t skip this process! If you are in the movie business, making a film that is not commercially viable is a waste of your time, and irresponsible with respect to your investors.

2. A Poor Business Plan

Too often filmmakers naively move into production without a well thought out business plan. This can create a lot of problems later and delay the release, or hurt the sales of your movie!

Lack of a business plan doesn’t only affect the marketing and sales of your film; it could even prevent you from even raising the money to make your film.

Investors want to see and know that you have a plan to make their money back. Demonstrate to them that you’re responsible and have thought-out how you plan to recoup their investment.

Remember it’s called the Movie Business. To become a successful filmmaker you must master both the artistic and business sides of the coin.

Note: I realize all business plans don’t succeed. The important point here is that without a business plan your project is more than likely doomed before it even begins.

3. No Star(s) Attached

Personally, I don’t believe a film is any better or worse because of a name actor. Unfortunately, I’m not in charge.

Without a name actor your chances of distribution diminish considerably.

There are many stars to choose from with varying price tags. I recommend pursuing an actor whom you already know accepts roles in low-budget films. Watch some of your favorite low-budget films, who do they cast?

The name actor does not have to be your lead. A cameo will be enough, not to mention cheaper.

4. Lousy Box Art

I’ve been told by more than one distributor that the first thing they look at when considering a film is the box cover.

Remember, the box art is the customer’s first impression of your film. If the cover doesn’t tell them what it’s about or captivate them in some way, your film will die on the shelf, or online – assuming it makes it that far.

Effective box art should convey the tone, title, promise of a specific experience, and cast (at the minimum).

Note: If you have a name actor in your film, put them on the box cover!

5. Vague Title

Don’t be vague with your title; it will only leave the customer confused, forcing them to continue their search for a movie.

Put a lot of thought into the title. In my opinion, it’s the most important aspect of a film.

A good title should: Create a great mental image, clearly state the tone, and identify the genre.

Note: For a slight edge, try to start you title within the first half of the alphabet. This will increase your odds of being selected on VOD formats.

6. Confusing Logline

A logline, or one-line, is one or no more than two sentences that briefly describe the story of your movie; it tells the audience, distributors, and potential DVD/VOD buyers, what your movie is about.

If you can’t fit your story into a tight, concise description then you need to rethink your story.

A bad or, rambling logline will turn off potential buyers, making them unsure of what the story is really about.

You’re logline needs to hook your potential buyer, target your niche audience, and like the title, it needs to create a mental image – telling the audience what they will experience when they watch your film.

Take time to compose a great logline because it will not only help sell your movie to your audience, but to distributors as well.

Note: For examples of good loglines, check-out the movie section in your local paper, or visit IMDB and read loglines of movies that fit your genre. Blake Snyder’s book Save the Cat has a proven formula for writing effective loglines.

7. The Main Character is Unlikable

Nobody wants to watch a movie where the jerk wins.

Your character can start as a jerk but throughout the film s/he needs to transform into a character the audience can root for.

Create a sympathetic main character – someone people feel for, or want to see achieve their goal.

Trust me; if the audience doesn’t care about the protagonist, they’re not going to care about their journey. Remember, negative word-of-mouth travels a lot faster than positive word-of-mouth.

Take your time in the writing process. There is no rush. The more likable and relatable you can make your main character, the more your audience will be involved in their story.

Note: If you do start your story off with an unlikable protagonist, have them do something that gives them a redeemable quality.

Important Note: Notice all these warnings can be found before or during pre-production. Take your time, don’t rush. Make sure you cover all the bases to ensure a positive outcome for your film.

Nobody wants to see their film fail. Fortunately, there are many precautions you can take to prevent that from happening. The above 7 warning signs can be the basis for a check list to help insure your film succeeds.

If you have any additional warning signs that you’d like to share, or if you have any questions regarding this post, be sure and drop as a line. We’d love to hear what you have to say!

As always, if you find this article helpful, SUBSCRIBE at the top of the page and SHARE IT with your friends~ Alexander Shumake

Filmmaking has tons of secrets, and every filmmaker has their own. Whether gained thru experience or accident, these secrets allow moviemakers to produce a movie cheaper, faster, and easier.

In this post, I’m going to reveal to you the top 20 secrets I’ve learned from producing a feature film.

NOTE: All secrets are to be taken as guidelines, or suggestions. Nothing below is an absolute rule. These are observations I’ve made over the years, writing, directing, and editing movies.

Below is a list of 20 filmmaking secrets every filmmaker should know:

1. Shoot Tight

By hiding poor production design and requiring less light, tighter shots – Medium Close-Up, Close-Up – tend to make low budget films appear more expensive for no extra cost.

2. Clutter the Background

Empty space is terrible – it looks cheap and low-budget.

Try filling up dead space with anything – curtains, stuffed animals, books, etc.

Having good set-design adds production value, characterization, and depth to your image.

Note: It’s best to have items that are complementary in texture and color. However, if this is not an option, it’s better to have something rather than nothing.

3. Add Depth

Too often, low-budget films place their actor directly in front of a wall. This creates a very flat and uninteresting image. Don’t do this!

Depth creates aesthetically pleasing images; it can orient the audience to the character’s surroundings, and allows for more interesting lighting.

Adding depth can be achieved by putting distance between the subject and the background, using a backlight on the subject, or using different hues and levels of lights in the fore, mid, and background.

One more tip – use objects that add depth to the walls such as books and knick-knacks.

4. Light on a Stick

It’s portable, light, and quick.

A light on a stick is versatile. Primarily used as a key light, it can quickly become a fill or back light. Also, with an extendable pole, it can be raised or lowered depending on the situation.

Other advantages include: maintaining a well-lit moving subject, faster set-up times, and quick adjustments.

5. Add Camera Movement

Camera movement can add a lot.

Whether subtle or in-your-face, camera movement gives energy to a scene. Watch any Tony Scott film, the camera is always moving, bringing the scene to life.

Plus, movement with dollies, cranes, jibs, steady-cams, etc. add value and make your project appear bigger. Look at movies like Transformers or The Avengers, the camera is constantly moving.

Shooting handheld is a cheap way to add camera movement – it quickens set-up time and allows shots to be easily adjusted, or reframed.

6. Cut the Fluff

This secret concerns both editing and writing.

Cut the fluff refers to removing what’s not important – If a scene, action, or dialogue doesn’t move the story forward, lose it.

Keep your audience engaged – make your story tight, concise, and full of meat, not fat.

7. Less Takes, More Coverage

Coverage will save your film from appearing slow, stale, and possibly dying.

Filmmakers argue, “Is a good take more beneficial than lots of coverage?” My answer is – No.

While performances are important and crucial, they do not offer the benefits coverage can offer, especially on a low budget film.

Coverage gives you options. Instead of being stuck with only a few angles and takes, coverage allows you to cut more frequently, holding the audience’s attention.

With more angles, your film will become more visually interesting. Allowing you to derive from the stale standards of WS, MS, and CU. Get creative.

Don’t be stuck having to use your WS because that’s all you had time to obtain because you were being a perfectionist. Instead, capture two takes of each angle and move on.

Additional coverage gives you the option to cut unnecessary dialogue or actions, speed up or slow down the pace, and cut away from bad acting.

8. Film Multiple Lead-Ins

Lead-Ins are shots that begin a scene or new beat.

Filming multiple lead-ins allows you to choose where to start a scene in post. Maybe your original plan doesn’t pan out. But, if you have a second or third lead-in, you can, without fretting, start the scene wherever works best.

Also, extra lead-ins give you the option to remove entire beats from your film, if later they are bogging down your story.

9. Forget Prime Lens, Use a Variable Zoom

Many cinematographers will only use Prime Lenses. Primes and Zooms both have advantages and disadvantages, but a variable zoom offers more benefits to the indie.

For starters, a variable zoom gives you instant results; there is no wait time to switch lenses.

Second, the audience can’t tell the difference. Sure, most DPs think they can tell the difference, but odds are your movie isn’t being shown to a theatre filled with DPs. This is just ego talking.  Drop the primes and save both time and cash.

Finally, a variable zoom lens can perform zooms. Too many times, a zoom can add dramatics or intensity to a good performance; gives the dialogue more weight.

Lenses are often a decision made by the ego; don’t waste time and money because of yours or your DP’s.

10. Punch-In

Punching-In refers to capturing a WS or MS, then zooming in to get a closer shot. This process takes only a few seconds or minutes, depending on the length of your scene, and will give your actor an additional take while giving you more coverage.

Note: When you punch-in, adjust your lights in as well. This will prevent you from accidently under exposing your image. Also, check your focus.

11. Use Music in Every Scene

Lack of music is a dead give-away that a movie is low-budget.

Music pushes your narrative forward and helps convey the mood/tone. In addition, it can invisibly string together scenes, making transitions smooth and natural.

A good score can mask mistakes, long pauses, or abrupt edits.

12. Let the Sound Make the Cut

Sound can bridge the gap between what is seen and perceived.

Often two clips won’t sync perfectly, but adding sound in-between the shots makes the transition smooth, even if visual information is missing – If people hear it, they see it.

Extra Tip- If filming a shoot-out or chase scene, add swooshes in-between shots. The sound will add umph to the cuts, giving your traveling subject more impact on screen.

13. Obtain a Clean Dialogue Track

At the end of each day, have your sound recordist step aside, preferably in a quiet area, with the actors and have the actors/actresses say all of their lines for the day, in character.

Clean dialogue tracks will get you out of some tight spots.

Often, during editing, you’ll need to manipulate the actor’s dialogue by adding an “and” or “but” in between words; a clean dialogue track will allow you to do this, seamlessly.

As a bonus, a clean dialogue track will improve your odds of avoiding ADR.

14. Budget for Deliverables

Deliverables are a curse to filmmakers. They consist of all the annoying details that you never thought of, or new existed, until the day you sign a distribution deal.

I suggest raising an additional ten grand for your budget, and hire a professional to handle your deliverables; trust me, this will save you lots of time and headaches.

15. Avoid Water Bottles, Use a Water Cooler

Water bottles, while convenient, are expensive and wasteful.

Every hour someone will walk to the craft services, open a bottle of water, take a sip, and set it down, never to be drank from again. REPEAT ALL DAY.

Instead, use a water cooler. They’re inexpensive and reusable- friendly to the environment and your budget. Plus, a water cooler holds more ounces of liquid than a large package of water bottles. Using cone shaped cups will also insure you don’t end the day with dozens of cups sitting around your set.

16. Make a Check List

Check lists are a must.

Have one for every department: shots, equipment, costumes, actors, etc.

Having a check list will ensure that you won’t forget anything, and free your mind to focus on more important matters.

17. Check Costume Shops for Wardrobes (discounts)

This is a money saving secret that I didn’t learn until after I purchased the wardrobes for Killer School Girls from Outer Space.

Most costume shops offer filmmakers discounts and extended rental times.

For example, LUCY IN DISGUISE, located in Austin, TX, offers a 20-25% discount on all purchases and an extended rental period of a week for all film productions.

18. Create a Color Scheme

A color scheme, while difficult to control on a low-budget, adds a lot of production value; making your film appear more expensive and more aesthetically pleasing to your audience.

I suggest sticking to two to three colors that are complimentary to each other. On Killer School Girls, we used Blues and Reds.

19. Think Outside the Box

A secret I’m sure you’ve all heard, but it’s true!

Be innovative, take risks, and break the rules.

Thinking outside the box is what filmmaking is all about!

20. Have FUN

Remember, filmmaking is fun!

Yes, you have a responsibility to make an awesome film, bring the project in on time and under budget, but don’t forget to have a good time too; it’s the reason you wanted to become a filmmaker instead of an accountant.

Throughout the process of making a film you’re sure to pick up some tricks of the trade. Above are 20 filmmaking secrets I think you should know.

If you have any additional secrets that you’ve learned and would like to share them, or if you have any questions regarding this post, be sure and share your thoughts below. We’d love to hear what you have to say!

As always, if you find this article helpful, SUBSCRIBE at the top of the page and SHARE IT with your friends~ Alexander Shumake

Achieving cinematic quality lighting is not hard. In fact, with the right tool(s) it can be downright easy.

Lighting a scene, no matter how complicated, is for the most part derived from a simple three light set-up. Intended to create an interesting image and convey depth, movies and television studios spend thousands of dollars on this process.

But spectacular lighting doesn’t have to be expensive. With a little creativity and the right tool, you can light a scene that will look just as interesting as the studios’ and achieve the same sense of depth but for pennies on the dollar.

In this post, I’m going to demonstrate how with $50 dollars, you can produce similar cinematic lighting for many of your indie productions.

Are you ready for the answer?

It’s called—A Light on a Stick

It’s portable. It’s cheap. It works.

Light on a Stick is comprised of 4 components:

1. Extendable Mic Boom or Painting Pole

2. Round Flood Lamp Fixture

3. Duct Tape

4. Photographic Quality Bulb- Florescent

(*I use a 42 watt Eiko Florescent Light. Giving off the equivalent of a 500 watt Tungsten, the Eiko bulb draws only 42 watts; providing a HQ diffused light while generating almost no heat.)

While the name sounds amusing, you’ll be the one with the last laugh, saving hundreds, maybe even thousands of dollars on your next production.

A Light on a Stick is versatile. Primarily used as a key light, it can quickly become a fill or back light. Not to mention, with an extendable pole, it can be raised or lowered depending on the situation.

Other advantages include: maintaining a well-lit moving subject, faster set-up times, and quick adjustments.

If you’re still not convinced, below are a few examples from past projects we shot utilizing the Light on a Stick:

Don’t over complicate lighting. Use what works. In the end, all that matters is the final product, not what equipment you used.

If you have any comments or additional cheap lighting ideas, be sure and share your thoughts below. We’d love to hear from you.

As always, if you found this post helpful, SUBSCRIBE at the top of the page and SHARE IT with your friends~ Alexander Shumake

In an industry notorious for greed, and creative bookkeeping, could Hollywood really be out to snatch your idea?

Imagine:

You sit at your desk- weeks, months, even years- contemplating your next award-winning, cinematic gem. Suddenly, Eureka! You’ve got it.

Cut To:

Six months later. You’ve completed your opus, and now it’s time to submit your screenplay to an unknown world of faceless players.

Time lapses, your mind drifts- “What if someone reads my script, decides it’s great, and steals the idea?”

As filmmakers, we’re often insecure. Admit it; the notion of concept-theft has crept thru all our heads at some point in time. It whispers to our unconscious, “What if?”

Recently, I’ve been trying to address various psychological roadblocks filmmakers often use as an excuse to avoid success or possible rejection. Idea theft is one of the most common.

My answer to your anxieties – RELAX! Hollywood is not out to pirate your ideas or script. This perception of theft is an absolute myth.

First off, there are multiple precautions you can use to protect your intellectual property.

For instance, the WGA (Writer’s Guild of America) offers a service to register and document your work, preventing any entity from claiming your idea. For more information regarding the WGA, refer to: registering your script with the WGA.

*Plus, many, if not all, studios will refuse to read your script without a WGA registration number.

Remember, protection is a two way road. Studios can’t and won’t read unsolicited material for fear of being sued.

In addition, you can and should register all ideas and scripts with the US Copyright Office. Even more than the WGA registration, this registration guarantees ownership and legal authorship.

Secondly, it doesn’t make economic sense to steal your script.

Think about it, why would a Hollywood exec steal your idea, hire a writer to re-write the screenplay, and risk being sued in court? They wouldn’t. Purchasing an original idea from a fresh, young writer would be much cheaper than hiring an established writer to rework a concept.

No doubt there will be rare exceptions; nothing is foolproof. Regardless, I encourage you not to let the occasional rarity prevent you from pursuing your dream. Don’t let the exceptions become your excuse!

Concept-theft is rare. But if you protect yourself you won’t be caught with your pants around your ankles. Don’t let a fear of concept theft hold you back from going for what you want.

If you have any comments regarding this topic, drop us a line and share your thoughts; we’d love to hear from you.

As always, if you find this article interesting and/or helpful, SUBSCRIBE at the top of the page and SHARE IT with your amigos~ Alexander Shumake.

Producing an independent movie demands A Lot. Like a Russian Matryoshka doll, making a feature has many layers; when you complete one task, there is another one nested inside. It never ends!

If you are in the midst of making a movie, or contemplating making one, you may already be poised to rip-out all your hair, but before you do – read this post.

Below are 7 easy steps to help simplify your production, and preserve your luscious locks.

1. Manage Your Time

Time is of the essence. Before production, chart-out how many scenes (and/or pages) you must complete each day in order to meet your schedule then plan accordingly.

Keep in mind what shots you will be achieving; certain set-ups require more attention and thus more time.

Never congest the day with more than you can handle! This will only cause stress.

Consider other departments’ responsibilities.  Remember, they’re there to help you actualize your vision; be considerate and allot them the necessary time they need to do their jobs.

*Unless there is a very good reason for it, avoid going over-time. If done repeatedly this reflects poorly on you as a filmmaker, and puts the cast and crew on edge. A happy crew means a better movie.

2. Get Organized

Organization is KEY. To operate a successful indie production, you must first be a great production manager (or planner). If you’re not a good organizer find someone who is or I promise you’ll sink faster than the Titanic.

File and Label EVERY e-mail, EVERY receipt, and EVERY contract. The last thing you want to worry about is where you misplaced an e-mail giving you permission to film on a specific location, or the agreed upon terms of an actor’s contract.

*I recommend purchasing a compact, fireproof lock box to store all your files in for each production.

3. Make a Schedule

Scheduling is the synthesis of time management and organization.

Buy a poster board. Divide the area into evenly spaced squares, one for each day. For every square, fill-in the following information: day, date, location, start and end time, actors/actress, crew, equipment, props, costumes, scenes and pages being filmed.

Having everything written out in front of you will clear the clutter in your mind, allowing you to concentrate on other important tasks.

*Remember, allow time for two meals. Food is the way to the heart.

4. Keep a Limited Crew

Small crews = Efficiency.

Often, on bigger sets there are so many departments, all with their own agendas, and communication suffers.  Ideas get lost in translation.

Don’t try and imitate the big budget movies.

With small crews, bonds are formed, communication is strengthened, and the pace in-between set-ups increases.

*On the set of Full Metal Jacket, Stanley Kubrick reportedly had a crew of 12.

5. Set-Up All of Your Equipment, First

Setting-up equipment takes time.

Set-up all your flags, lights, silks, etc. the minute you get to location. Having all of your equipment assembled and ready-to-go will eliminate waiting later.

We’ve all been there—the actors are ready, the camera is locked, but uh-oh! — The sun is too harsh; you need a silk to diffuse the light.

Now, instead of running to the gear truck, obtaining the equipment, rigging it together, you simply retrieve your already assembled flag, cover the hot spot, and 30 seconds later, you’re filming.

6. Learn to Do It All

Knowledge is power; the more you know the better filmmaker you will be.

If you’re a director, learn to operate the camera, DP, and direct.

You already have the vision now produce it. Delegating these positions to others will only dilute your vision and cause yourself to second guess. Trust yourself.

Edit the movie, sound design it, score it. Again, nobody has a clearer vision of the film than you.

*Plus, you’ll save tons of money!

If you don’t know how to do something, learn how.

Knowing all the ins-and-outs of the various jobs is an asset and will enhance your communication with other departments if, and when you decide to do other jobs.

7. Hire Good People

80% of directing is casting.  Hire talented actors and your job is essentially done.

Good actors contribute a lot – they know their lines, bring ideas, and boost the sets morale. Not to mention, they make you look good.

However, a solid crew is just as important as an impressive cast.

Select a producer who is gifted with people and numbers.

Producers are like a wingman, they’re there for you, and support you. When a problem arises they deflect it.

As for crew, they’re your soldiers.

I recommend holding a one-on-one interview with each crew member before making your decision to hire or not.

Make sure each crew member is enthusiastic, knowledgeable, comfortable with how you run your set, and comes without an ego.

Remember, producing a film is a collaborative effort, so make sure you surround yourself with the best, brightest, and people whom you enjoy to work with.

Making a movie is stressful.

Through-out the process you will encounter many speed bumps, but if you exercise these 7 simple suggestions, I promise your ride will be much less rocky.

If you have any additional suggestions that’ve helped you or questions regarding this post, be sure and share your thoughts below. We’d love to hear what you have to say!

As always, if you find this article helpful, SUBSCRIBE at the top of the page and SHARE IT with your friends ~ Alexander Shumake.

Fade In:

It was a drizzly Thursday morning, my cohort and I sat in the back of one of our favorite local greasy spoons, digging into a hearty breakfast of pancakes and black coffee. We hadn’t seen each other in quite some time and I was enjoying our reunion.

We discussed a wide-array of topics, continuing right where we left off from our last meeting, when my friend said, the one phrase all filmmakers should avoid like the black plague, “I’m not going to make a movie until I can make it my way, 100% uncompromised.”

Naively spouted by all of us at some point in our careers, the fatal claim “no compromise” is the single BIGGEST mistake a filmmaker can declare. I say this because the basic platform of movie making is built on compromise.

Think about it, every Actor yearns for another take, DPs plead for more time, a Producer barters for additional funds, and Directors cringe in the editing room, cursing themselves for not capturing decent coverage; sometimes you get it, sometimes you don’t. It’s all part of the process.

Furthermore, proclaiming this notion forms a mental crutch for the subconscious to lean on. It’s crippling. By constantly putting up this barrier, which is next to impossible to climb over, you keep yourself from ever advancing forward.

But, what about Quentin Tarantino, Paul Thomas Anderson, David Fincher, they tout that films shouldn’t ever be compromised. This is true, unfortunately, the definition of “should” is- ought to, but not necessarily, and contrary to what these auteurs might claim, I promise you, even they must compromise.

Now, with all this said, I don’t want you to think I’m advocating not offering input or arguing for your case. I’m simply saying, “Don’t be stubborn.” Remember, filmmaking is a collaborative effort, and often the best solutions are not our own, no matter how much we’d like to believe they are.

So please, don’t stress yourself out to the gills fighting for control over every little detail or you will neglect to ever make a movie at all; either this or nobody will want to work for you again.

I encourage you to be confident in your decisions and explore creative ideas, but before you let the phrase, “I’m not going to make a movie until I can make it my way, 100% uncompromised” slip your tongue again, Bite It.

Compromise is a difficult concept for filmmakers to grasp and can be a challenging subject. So, if you have any comments or thoughts regarding this topic, be sure and share your ideas below; we’d love to hear from you.

As always, if you find this article interesting or helpful, SUBSCRIBE at the top of the page and SHARE IT with your friends~ Alexander Shumake.

I have a background both as a movie maker and as someone who has helped fund movies. The two biggest problems I encounter with many of my fellow filmmakers are 1) a complete lack of knowledge of the business side of movie-making, and 2) a narrow social circle that is populated by other broke filmmakers.

As crazy as it sounds, many of the indie filmmakers I encounter seem to pride themselves on their lack of business knowledge and have a very condescending attitude towards people who do posses such knowledge, especially in the areas of sales and marketing. They have the attitude that they are artists and are above it all.

The truth is, if you are going to make a living making movies then you are in the movie BUSINESS and need to learn as much about the business side of the equation as you know about the production/artistic side. Educate yourself about SEC Regulation D fundraising. It is simple and provides a great avenue for indie filmmakers to fund their projects.

Also, view your movie projects as what they are, a business. To take an investor’s money and then to not make an honest effort to create a return for that investor is not only unfair to the investor, but it creates a bad environment for other filmmakers when they try to raise money for their projects.

Lastly, be realistic about how movies are currently being sold/marketed. If you think you’re going to be the next Tarantino, win Sundance, and have Harvey Weinstein write you a big check, then you need a new plan. If this describes you, the only kind of check you need to be involved with is a reality check. If you’re not willing to learn the business side of movie-making, do everyone a favor and don’t raise outside money – fund your projects yourself and maintain your amateur status.

If you are are going to raise money, you have to associate with some people that have it. If your social circle is only comprised of other impoverished filmmakers, you are going to have a tough time finding people to invest in your film. Broaden your social circle. Here are some tips on how to do that:

1) Volunteer and become involved with fundraising for a charity that you believe in. Charities survive on donations, many coming from people with deep pockets. You will meet some great people doing this, some will become your friends and down the road will have an interest in helping you with your movie projects.

2) Shoot some free commercials for local businesses. If your product is good, they will use them and over time you will develop a relationship with some of the owners. Again, you will meet some great people doing this.

3) Get involved with a political campaign. Like charities, campaigns run on donations, many given by people with deep pockets. I owe my relationship to my second largest investor to a political campaign – we’ve been friends for almost 16 years now.

These are just three ideas to broaden your circle of friends but they all have one thing in common, you start off by giving. In time, if you are sincere, that goodwill will be returned to you.

As always, if you enjoyed this article be sure and SUBSCRIBE at the top of the page and SHARE IT with your friends. ~ Bill Shumake

With the staggering amount of online and video-on-demand (VOD) markets that exist today, one would certainly think that indie filmmakers could flourish by taking advantage of these alternative outlets of distribution. Unfortunately, this is not always the case.

As the online and VOD distribution operations are maturing to coincide with the public’s viewing standards, it is becoming increasingly problematic for indie films to acquire a fair contract guarantying a slot onto one of the major retail outlets (I-tunes, Amazon, Netflix, Hulu, Direct TV) without getting shafted, financially.

However, there is one company that proposes a shimmering light of hope for the independents- Distribber.

Founded in 2009 by Adam Chapnick, Distribber is an IndieGoGo company contrived after a slew of protests from filmmakers regarding distributors and aggregators. While still serving as a middle-man between you and the retailers, Distribber allows the creative rights holders (you, the filmmaker) to retain 100% of revenues, maintain all the rights to your property, and personally track your sales across the stores, while still getting your film distributed through the mainstream platforms.

The Best Part: Charging a very reasonable one time only flat-fee of $1595, Distribber simply addresses all the facts, in detail, you’ll need to know in order to get your films secured on each one of the major retailers offered today. (*Note: Price will vary depending on the quality of video (SD or HD) you choose to deliver, but the choice is yours.)

You’ve Got Questions, They’ve Got Answers: How much it will cost, When and how to acquire your money, Money splits with each of the retailers, Deliverables, How your film gets accepted, Acceptance guidelines, How your film will be priced, How long does the process take, and Much, Much More.

While it’s still up to you as a filmmaker to get your product noticed and discussed, Distribber offers an amazing and affordable tool for indie moviemakers to get their movie out to the public via the major retailers at a fair price.

To find out more about this incredible service Distribber has to offer, visit: www.distribber.com and discover what possibilities this site can provide for you.

I hope this post helps you find an alternative method to distribution that not only allows you to keep the rights to your film, but keeps money in your pocket.

If you have any questions or concerns regarding the post be sure and leave us a comment at the bottom of the page, we’d love to hear from you.

As always, if you enjoyed this post be sure and SUBSCRIBE at the top of the page and SHARE it with your friends~ Bill and Alexander Shumake.