When you read the script, think of the “movie” that plays in your head. What does it look like? What kinds of colors and images to you see Take notes as you read the script – this will help you communicate your vision to the crew. Have you seen other movies with similar ideas or styles as yours? Martin Scorsese famously sits his actors down to watch tons of old movies before shooting as inspiration. [1] X Research source
On each day of shooting, print out the relevant storyboards and use them to check off each needed shot. Use these storyboards to prioritize shooting schedules. If there is a complex but essential scene, consider shooting it first to ensure you get it just how you want.
Making your own effects and props is almost always cheaper, and YouTube is filled with thousands of tutorials for just about any design. [2] X Research source
Cameras: You need at least 2, though 3 is far more standard, as it allows you to get two people talking as well as a master shot (which covers the whole scene). Your cameras must be able to shoot in the same format (1080p, 4K, etc. ), otherwise, they can’t be edited together smoothly. On a budget? Check out the Sundance-screened Tangerine, which was shot entirely on iPhone 6s. Don’t shoot lower than 1080p HD. The higher the resolution, the better your image quality will be. You can choose the resolution from your device’s camera settings. Newer iPhones can shoot at 4K resolutions. Microphones: Audiences notice bad sound before they notice bad picture. [3] X Research source In a pinch, your money should be spent on a great mic, even if it is just a shotgun mic that attaches to the camera. Lighting: All you need are 5-10 clamp lights and a few different light bulbs (tungsten, frosted, LED, etc. ) to fit whatever scene you have. That said, a professional 3 or 5-piece light kit will make your life easier and a lot more fun. [4] X Research source [5] X Research source Other Essentials: No matter what you’re shooting, you need a few memory cards and extra batteries, a backup hard drive and laptop to review and save footage when cards fill up, tripods, extension cords and power strips, and a few rolls of strong black tape. [6] X Research source
Don’t shoot lower than 1080p HD. The higher the resolution, the better your image quality will be. You can choose the resolution from your device’s camera settings. Newer iPhones can shoot at 4K resolutions.
Director of Photography (DP): This is your cinematographer, responsible for the overall look of each shot. They take point setting up lights and cameras and work with you to get your tone and mood across visually. It is very, very hard to both be a DP and a director, and this job is perhaps the most essential to fill with an experienced hand. Camera and microphone operators: One person per camera and usually one person for all the audio. If using a boom pole, make sure you have a boom operator who is strong and doesn’t mind standing all day long. Continuity / Set Design / Make-Up: Put someone in charge of making sure all costumes, props, and make-up are consistent throughout the shoot. Sound Engineer: Listen to all the sound as it is being recorded, ensuring that it is right. They also place the microphones to pick up the dialog after the lights have been set. Production Assistant: If you can, try to always have one “free” person floating around, able to do whatever needs doing at the drop of a hat. With so many moving parts in a movie, they will be utilized. [7] X Research source
Memorized Monologues where the actor comes in and performs the speech of their choice. Line Reads are when you send out 2-3 pages of script, which they perform with you or another actor in the room. Cold Reads are when you hand an actor a page of the script right when they walk in. They can read it once, then they have to plunge in. Good if you want improv actors.
You should only expect to shoot, at most, 5-6 pages a day in a full production. Some meetings are more crucial than others – you’ll likely want to talk to your Director of Photography every morning about mood, lighting, and shots, as well as talking to the main actors about their lines. Have a backup plan – if a shot goes too long, which other shots do you cut from the days schedule? If you have extra time, what scenes can you shoot in addition to the schedule?
If it helps, use tape to mark where the actors need to end up after each scene. You don’t need the main actors for all the blocking preparation. If you can use crew members to experiment with blocking in advance you can simply direct the actors to their spots when they arrive on set.
Master: This is a big, wide angle shot that captures all, or nearly all, of the action in the scene without having to move. Two-Shot: One camera goes over each actor’s shoulder in a conversation, allowing you to jump from one perspective to the other. If there 3 or more people in the scene, try to fit at least two people in each shot. These two cameras should cover all of the dialogue. Establishing Shots: These are usually the first shots in the scene, used to place the audience in the scene (like following a character through the door of a tavern). In some cases, your master can double as an establishing shot.
Realistic: You’ll want a lot of diffusers, bouncing light off of walls and the ceiling. You’re aiming for even lighting across the scene. A good way to check this is to put the shot temporarily in black and white. You should have nice, deep blacks and a wide range of grays, with only a little bright white for contrast. Try using “practicals” – which are in-set lights like lamps or ceiling fans, to help. Artistic or Dramatic: Use big lights, colored lights, and sharp contrasts to make striking, almost unrealistic compositions, like those in Sin City, or even “Her. " While dramatic lighting is always fun to play with, make sure there is a purpose for it if you’re straying from realism.
Boom Pole: This is a powerful mic on a long metal pole. Usually, it is held above the camera line with the mic pointing down at the actor’s faces. It picks up incredible audio, but it needs to be moved to angle at whatever actor is speaking. Lavaliere Mics: These are stuck on the actor discreetly, like those small mics seen in documentaries. There are many that can be taped to an actor’s chest, under the shirt, as well. Shotgun Mics: The cheapest and easiest mics to use, these are simply placed on the camera while shooting. They are almost always better than the camera’s attached microphone.
“This is picture, quiet on set!” “Roll sound!” This is the cue to start microphones. The audio person yells, “rolling!” when ready. “Roll Picture!” This is the cue to start cameras. When each camera person (or the DP) is ready, they yell “Speed!” “This is Awesome Wiki Movie, Scene 1, Take 2. " Slap the clapboard or just clap when done. Give 3-5 seconds of silence, which makes editing the film much, much easier. “ACTION!"[8] X Research source
Think about what shots are essential to tell your story – for example, a shot of a test your protagonist just said they failed, a ticking clock, etc.
Think about what shots are essential to tell your story – for example, a shot of a test your protagonist just said they failed, a ticking clock, etc.
The sooner you watch the day’s footage, the sooner you can correct mistakes if you need.
In a pinch, tape and permanent markers are a great way to cover up logos on objects you can’t move, like an oven or fridge.
Be creative with B-roll, this is you and the DP’s chance to be artful with much less stress. Make sure your b-roll fits the tone or tenor of the movie. Punch Drunk Love uses bright, abstract colors to indicate mood swings. Horror movies use slow, dark shots. Action movies use stark, extreme, and dramatic landscapes, etc. [10] X Research source
Cast and crew wages and food Rights to music our sounds Transportation Props and Costumes Filming equipment
Be ready to watch the movie hundreds of times. It can help to bring in a trusted friend or two as well to notice things you and your editor might miss. Depending on your editor’s skill set, you may need a sound designer as well to create sound effects and find and place music.
Color-grading can be used to create the whole visual mood and motif of the scene by making it brighter or darker, more vibrant or more somber.
Always be one of the first people on set. There will always be something for you to do, and it sets a good example.
