{"appState":{"pageLoadApiCallsStatus":true},"categoryState":{"relatedCategories":{"headers":{"timestamp":"2022-10-18T16:01:27+00:00"},"categoryId":33749,"data":{"title":"Film","slug":"film","image":{"src":null,"width":0,"height":0},"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"parentCategory":{"categoryId":33747,"title":"Performing Arts","slug":"performing-arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"}},"childCategories":[],"description":"Welcome to the world of cinema. Sit back and watch something that moves you, or get up and make a movie of your own. Here's the info you need!","relatedArticles":{"self":"https://dummies-api.dummies.com/v2/articles?category=33749&offset=0&size=5"},"hasArticle":true,"hasBook":true,"articleCount":69,"bookCount":4},"_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"relatedCategoriesLoadedStatus":"success"},"listState":{"list":{"count":10,"total":69,"items":[{"headers":{"creationTime":"2016-03-27T16:47:21+00:00","modifiedTime":"2022-04-12T19:43:32+00:00","timestamp":"2022-09-14T18:19:36+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Digital Filmmaking For Kids For Dummies Cheat Sheet","strippedTitle":"digital filmmaking for kids for dummies cheat sheet","slug":"digital-filmmaking-for-kids-for-dummies-cheat-sheet","canonicalUrl":"","seo":{"metaDescription":"Learn the basics of digital filmmaking for kids, including the various roles on the team, how to audition actors, and more.","noIndex":0,"noFollow":0},"content":"Digital filmmaking is the process of creating and telling a story or presenting information through the art of film using digital video cameras. Basically, it’s a way creative people like you can turn the ideas in your heads into films audiences can watch on movie screens, TVs, or computers.\r\n\r\nYou can assemble a team to create your film, audition and hire actors, and then shoot your film. Afterward, you can edit your film using commonly available editing software.","description":"Digital filmmaking is the process of creating and telling a story or presenting information through the art of film using digital video cameras. Basically, it’s a way creative people like you can turn the ideas in your heads into films audiences can watch on movie screens, TVs, or computers.\r\n\r\nYou can assemble a team to create your film, audition and hire actors, and then shoot your film. Afterward, you can edit your film using commonly available editing software.","blurb":"","authors":[{"authorId":9125,"name":"Nick Willoughby","slug":"nick-willoughby","description":" <p><b>Nick Willoughby </b>heads Filmmaking For Kids and Film Future, a pair of programs designed to teach kids aged 7&#45;16 the various aspects of filmmaking. Nick is also a writer and director for 7 Stream Media, a video and media production firm based in the UK.</p> ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/9125"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[],"relatedArticles":{"fromBook":[{"articleId":257035,"title":"Filmmaking Tips: How to Film and Frame an Interview","slug":"filmmaking-tips-how-to-film-and-frame-an-interview","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/257035"}},{"articleId":256947,"title":"Types of Shots in Filmmaking and How to Frame Them","slug":"types-of-shots-in-filmmaking-and-how-to-frame-them","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/256947"}},{"articleId":210235,"title":"How to Create a Digital Film Trailer (Lost in Time Trailer)","slug":"how-to-create-a-digital-film-trailer-lost-in-time-trailer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/210235"}},{"articleId":210083,"title":"How to Create a Digital Documentary Film","slug":"how-to-create-a-digital-documentary-film","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/210083"}},{"articleId":210082,"title":"How to Create a Digital Short Film (Lost in Time)","slug":"how-to-create-a-digital-short-film-lost-in-time","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/210082"}}],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":281682,"slug":"digital-filmmaking-for-kids-for-dummies","isbn":"9781119027409","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119027403/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119027403/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119027403-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119027403/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119027403/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/digital-filmmaking-for-kids-for-dummies-cover-9781119027409-205x255.jpg","width":205,"height":255},"title":"Digital Filmmaking For Kids For Dummies","testBankPinActivationLink":"","bookOutOfPrint":false,"authorsInfo":"<p><b data-author-id=\"9125\">Nick Willoughby </b>heads Filmmaking For Kids and Film Future, a pair of programs designed to teach kids aged 7-16 the various aspects of filmmaking. Nick is also a writer and director for 7 Stream Media, a video and media production firm based in the UK.</p>","authors":[{"authorId":9125,"name":"Nick Willoughby","slug":"nick-willoughby","description":" <p><b>Nick Willoughby </b>heads Filmmaking For Kids and Film Future, a pair of programs designed to teach kids aged 7&#45;16 the various aspects of filmmaking. Nick is also a writer and director for 7 Stream Media, a video and media production firm based in the UK.</p> ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/9125"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119027409&quot;]}]\" id=\"du-slot-63221b388f6d1\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119027409&quot;]}]\" id=\"du-slot-63221b388ffa8\"></div></div>"},"articleType":{"articleType":"Cheat Sheet","articleList":[{"articleId":144451,"title":"The Different Roles in a Digital Filmmaking Team for Kids","slug":"the-different-roles-in-a-digital-filmmaking-team-for-kids","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/144451"}},{"articleId":144449,"title":"Digital Filmmaking for Kids: Tips for Auditioning Actors","slug":"digital-filmmaking-for-kids-tips-for-auditioning-actors","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/144449"}},{"articleId":144450,"title":"Digital Filmmaking for Kids: Editing Keyboard Shortcuts","slug":"digital-filmmaking-for-kids-editing-keyboard-shortcuts","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/144450"}}],"content":[{"title":"The roles on a digital filmmaking team for kids","thumb":null,"image":null,"content":"<p>There are so many different roles in filmmaking. You can see this when you watch the credits at the end of a mainstream film: The credits seem to go on for ages at the end of a film as they thank all the people involved, from the actors to the technical crews to the costume designers.</p>\n<p>Here some of the main roles in making a film:</p>\n<table>\n<tbody>\n<tr>\n<td><b>Writer</b></td>\n<td>The person who writes the story and script for filming. The<br />\nwriter is really involved at the start of the filmmaking process,<br />\nbut, occasionally, they might be invited to be on set when<br />\nfilming.</td>\n</tr>\n<tr>\n<td><b>Executive producer</b></td>\n<td>The person who provides the money and support to make the film.<br />\nFilms cost a lot of money, so without executive producers, many<br />\nfilms wouldn’t be made.</td>\n</tr>\n<tr>\n<td><b>Producer</b></td>\n<td>The person responsible for organizing the production and<br />\nfilming from start to finish. Some of the duties of a producer<br />\ninclude: working with the writers, director and cast to prepare the<br />\nscript ready for shooting; organizing and managing the film crew;<br />\nplanning and scheduling the shoot; reviewing the edits with the<br />\ndirector; and organizing the distribution of the final film.</td>\n</tr>\n<tr>\n<td><b>Production manager</b></td>\n<td>The person who works with the executive producer to organize<br />\nthe people needed to make the film.</td>\n</tr>\n<tr>\n<td><b>Director</b></td>\n<td>Directors work with the actors and crew during filming to tell<br />\nthe story and to get the best result for the audience. They also<br />\nhelp to refine the story and script before filming, and they review the<br />\nedits during post production.</td>\n</tr>\n<tr>\n<td><b>Assistant director</b></td>\n<td>The person who works with the director to organize the crew and<br />\nactors and to make sure everything is running smoothly during<br />\nfilming.</td>\n</tr>\n<tr>\n<td><b>Director of photography</b></td>\n<td>The person who works with the camera and lighting crews to make<br />\nthe shots look great. They also work with the director to decide on<br />\nwhat types of shots to use. Sometimes the director of photography<br />\ncan be the camera operator on smaller productions.</td>\n</tr>\n<tr>\n<td><b>Location scout</b></td>\n<td>The person who decides on the locations to use for each scene<br />\nbefore filming. They spend a lot of time travelling around looking<br />\nat potential locations for films.</td>\n</tr>\n<tr>\n<td><b>Casting director</b></td>\n<td>The person who auditions the actors to play the characters in<br />\nthe film. They have to sit through a lot of auditions to make sure the person they choose for a role in a film is the right<br />\none.</td>\n</tr>\n<tr>\n<td><b>Camera operator</b></td>\n<td>The camera operator is responsible for filming and setting up<br />\nthe camera shots for each scene.</td>\n</tr>\n<tr>\n<td><b>Boom operator/sound mixer</b></td>\n<td>The person responsible for holding the microphone and recording<br />\nsound on set. The boom operator also monitors the sound during<br />\nfilming to check for volume levels and any sound issues or<br />\nbackground noises.</td>\n</tr>\n<tr>\n<td><b>Gaffer</b></td>\n<td>Gaffers work with the director of photography or camera<br />\noperator to set up lighting for each scene.</td>\n</tr>\n<tr>\n<td><b>Key grip</b></td>\n<td>Key grips are responsible for much of the equipment used in<br />\nfilming, including tripods, dollies, cranes, lighting, and so<br />\non.</td>\n</tr>\n<tr>\n<td><b>Props master</b></td>\n<td>The person responsible for finding props needed for each scene.<br />\nSome props need to be designed and built for a scene and others can<br />\nbe bought.</td>\n</tr>\n<tr>\n<td><b>Makeup and hair</b></td>\n<td>The person responsible for actors’ makeup and hair on the<br />\nset. Often, simple makeup is needed to stop shine on the face from<br />\nthe lights, but sometimes more complicated makeup is needed to<br />\ncreate an effect.</td>\n</tr>\n<tr>\n<td><b>Costume designer</b></td>\n<td>The person responsible for the clothes worn by actors on set.<br />\nThe costume designer will have to obtain clothes based on the<br />\ncharacters played by the actors, and, sometimes, will have to create<br />\ncostumes for characters.</td>\n</tr>\n<tr>\n<td><b>Actors</b></td>\n<td>These are the people who play the characters in the film. They<br />\ntake advice from the directors to bring the characters to life using<br />\nthe dialogue written in the script.</td>\n</tr>\n<tr>\n<td><b>Editor</b></td>\n<td>Editors are responsible for placing the footage together in the<br />\nediting tool to tell the story. They often work to make sure the<br />\ndirector is happy with the final result.</td>\n</tr>\n<tr>\n<td><b>Craft</b> <b>s</b><b>ervice</b></td>\n<td>This is the department responsible for providing food and<br />\ndrinks for the cast and crew. This is an import role as this can<br />\neasily be forgotten when organizing a film shoot.</td>\n</tr>\n</tbody>\n</table>\n"},{"title":"Tips for auditioning actors","thumb":null,"image":null,"content":"<p>Filmmaking auditions can be quite stressful, so they’re also a good way to see how an actor works under pressure. This can give you an idea of how the actor will behave in front of a camera. After all, even the most confident person can become shy when a camera is pointed at them.</p>\n<p>Auditions can also be good experience for the actors, especially if acting is something they want to do as a career.</p>\n<p>The following list describes some things to look for in the actors you meet when running auditions.</p>\n<ul class=\"level-one\">\n<li>\n<p class=\"first-para\"><b>How do they deal with stress?</b> It’s not unusual for actors to get nervous. It’s how they deal with that problem on-camera that’s important. Can they hide their nerves? Do the nerves affect their performance? Do they look like a stunned rabbit in headlights? Give them time to relax by telling them about what will happen in the audition and a bit about the production if you want. Here, you can see how they listen and if they are interested in what you are telling them.</p>\n</li>\n<li>\n<p class=\"first-para\"><b>Are they natural? </b>When an actor is performing, does it look and feel real? You should be able to believe what the actor is saying and almost forget they&#8217;re playing a role. Do they sound like they&#8217;re just reading lines? If so, ask them to think more closely about the lines they&#8217;re performing and to try to imagine they are the character.</p>\n</li>\n<li>\n<p class=\"first-para\"><b>What’s the actor’s voice like? </b>An actor’s voice should suit the character and the lines they’ll be saying in the film. When performing, does the actor sound like a robot or do they deliver the lines with feeling and emotion? An actor’s voice is as important as their facial expressions and body. It should convey emotion, and it should sound interesting, not boring. Also, listen to how clear the person&#8217;s voice is: Do they mumble or rush words?</p>\n</li>\n<li>\n<p class=\"first-para\"><b>How does the actor respond to direction? </b>The actor you choose should listen to you and do what you ask them to do. The last thing you want is an actor who thinks they know better than you and does whatever they want. During the audition, ask your actors to change something about the way they deliver their performance. See whether they do what you ask (or whether they at least try). You could ask them to pause before saying a line or change the amount of emotion in a line — for example, ask the actor to “be more angry,” or “be less cheerful.”</p>\n</li>\n<li>\n<p class=\"first-para\"><b>How does the actor work with other actors? </b>It’s important that your actors be able to work well both on their own and with other actors. The only way to test this in an audition is to have the actor act a scene with another actor in the audition. Look to see whether the actor responds to what the other actor is doing in the scene. Do they overpower the other actor or do they support them?</p>\n</li>\n<li>\n<p class=\"first-para\"><b>Has the actor learned the lines? </b>If you asked the actor to learn a scene or part of the script for the audition, they should have taken the time to learn it. This shows whether they are committed to your film and is a reflection of how much they want the part. You could allow them to have the script on hand to refer to, if necessary. But, sometimes, a script can be more of a distraction than a support — if it’s there, they’ll look at it. Ask the actor if they&#8217;re okay working without a script before taking it away.</p>\n</li>\n<li>\n<p class=\"first-para\"><b>What does the actor know about the character? </b>Knowing some background about the role shows enthusiasm and a real desire to get the part. As part of your audition process, ask the actor questions about the character and what they know about the film. Remember, they won’t be a mind reader, so unless you provided information about the project with the audition information, then they won’t be able to answer much. You could ask them about the character, however, because they could get some information from the script. For example, you could ask the actor what they think is happening in the scene they&#8217;ve prepared, about the emotions the character is expressing, and how they feel about playing the character.</p>\n</li>\n</ul>\n"},{"title":"Editing keyboard shortcuts","thumb":null,"image":null,"content":"<p>There are a number of different editing applications that will help you edit your digital film. Although these applications have a number of differences, the keyboard shortcuts are, generally, the same across all applications. Here are some keyboard shortcuts that can help with the editing process.</p>\n<table>\n<tbody>\n<tr>\n<th>Keyboard shortcut</th>\n<th>What it does</th>\n</tr>\n<tr>\n<td>Command-I</td>\n<td>Import footage into an event</td>\n</tr>\n<tr>\n<td>Command-N</td>\n<td>Creates new movie project</td>\n</tr>\n<tr>\n<td>Command-E</td>\n<td>Export a timeline to the iMovie Theatre</td>\n</tr>\n<tr>\n<td>Spacebar</td>\n<td>This plays the video in the timeline from where the play head<br />\nis positioned</td>\n</tr>\n<tr>\n<td>Right arrow key</td>\n<td>Moves the play head one frame forward, which can be very useful<br />\nfor precise editing</td>\n</tr>\n<tr>\n<td>Left arrow key</td>\n<td>Moves the play head one frame backward, which can be very<br />\nuseful for precise editing</td>\n</tr>\n<tr>\n<td>Down arrow key</td>\n<td>Jumps play head forward to the beginning of the next clip in<br />\nthe event browser or timeline</td>\n</tr>\n<tr>\n<td>Up arrow key</td>\n<td>Jumps play head back to beginning of current clip or previous<br />\nclip in event browser or timeline</td>\n</tr>\n<tr>\n<td>Forward slash (/)</td>\n<td>This plays the selected area of clip in event browser or<br />\ntimeline</td>\n</tr>\n<tr>\n<td>Backslash ()</td>\n<td>This plays from the beginning of the clip, event or<br />\ntimeline</td>\n</tr>\n<tr>\n<td>Shift-Command-F</td>\n<td>This plays clip from play head position in full screen</td>\n</tr>\n<tr>\n<td>Esc</td>\n<td>This exits full screen view</td>\n</tr>\n<tr>\n<td>Command-Z</td>\n<td>To undo last action or change</td>\n</tr>\n<tr>\n<td>Shift-Command-Z</td>\n<td>To redo last action or change</td>\n</tr>\n<tr>\n<td>Command-C</td>\n<td>This copies the selected clip or text</td>\n</tr>\n<tr>\n<td>Command-X</td>\n<td>This cuts the selected clip or text</td>\n</tr>\n<tr>\n<td>Command-V</td>\n<td>To paste the copied clip or text</td>\n</tr>\n</tbody>\n</table>\n"}],"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Explore","lifeExpectancy":"Two years","lifeExpectancySetFrom":"2022-04-12T00:00:00+00:00","dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":207539},{"headers":{"creationTime":"2016-03-27T16:56:13+00:00","modifiedTime":"2022-02-23T22:07:23+00:00","timestamp":"2022-09-14T18:19:13+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Filmmaking For Dummies Cheat Sheet","strippedTitle":"filmmaking for dummies cheat sheet","slug":"filmmaking-for-dummies-cheat-sheet","canonicalUrl":"","seo":{"metaDescription":"Learn how to be a successful filmmaker by knowing what you need to have before you start shooting and what you need to bring to a location shoot.","noIndex":0,"noFollow":0},"content":"The responsibilities of a filmmaking team can be compared to those of the host of people needed to pull off a fine dining experience from the director/chef to the production assistants/servers. As a filmmaker, you have to be organized enough to know what you need to have in order before you start and what to bring to a location shoot. And, if you can get high production values in your movie for little money, you’ll be all the more successful.\r\n\r\n[caption id=\"attachment_265541\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-265541\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-lg.jpg\" alt=\"filmmaking\" width=\"556\" height=\"370\" /> © guruXOX/Shutterstock.com[/caption]","description":"The responsibilities of a filmmaking team can be compared to those of the host of people needed to pull off a fine dining experience from the director/chef to the production assistants/servers. As a filmmaker, you have to be organized enough to know what you need to have in order before you start and what to bring to a location shoot. And, if you can get high production values in your movie for little money, you’ll be all the more successful.\r\n\r\n[caption id=\"attachment_265541\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-265541\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-lg.jpg\" alt=\"filmmaking\" width=\"556\" height=\"370\" /> © guruXOX/Shutterstock.com[/caption]","blurb":"","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[],"relatedArticles":{"fromBook":[{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}}],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":282198,"slug":"filmmaking-for-dummies-3rd-edition","isbn":"9781119617853","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119617855-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/filmmaking-for-dummies-3rd-edition-cover-9781119617853-203x255.jpg","width":203,"height":255},"title":"Filmmaking For Dummies","testBankPinActivationLink":"","bookOutOfPrint":true,"authorsInfo":"<p><p><b><b data-author-id=\"10360\">Bryan Michael Stoller</b></b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com.</p>","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221b2110321\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221b2110d9c\"></div></div>"},"articleType":{"articleType":"Cheat Sheet","articleList":[{"articleId":192435,"title":"The Roles in a Filmmaking Production Team","slug":"the-roles-in-a-filmmaking-production-team","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/192435"}},{"articleId":192434,"title":"A Filmmaker's Pre-Shooting Checklist","slug":"a-filmmakers-pre-shooting-checklist","categoryList":[],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/192434"}},{"articleId":192432,"title":"How to Enhance the Production Value of Your Film","slug":"how-to-enhance-the-production-value-of-your-film","categoryList":[],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/192432"}},{"articleId":192433,"title":"Items to Bring to a Film Shoot Location","slug":"items-to-bring-to-a-film-shoot-location","categoryList":[],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/192433"}}],"content":[{"title":"The roles in a filmmaking production team","thumb":null,"image":null,"content":"<p>Making a film requires the talents and abilities of a video production team. To understand the roles of a film production team, you can compare the positions of each crew member to the people needed to prepare a fine meal. The following chart lists the common positions found on a typical film production team and explains their responsibilities.</p>\n<table>\n<tbody>\n<tr>\n<td width=\"480\">\n<table>\n<tbody>\n<tr>\n<td><strong>Position</strong></td>\n<td><strong>Responsibility</strong></td>\n</tr>\n<tr>\n<td>Writer</td>\n<td>Writes the list of ingredients</td>\n</tr>\n<tr>\n<td>Executive producer</td>\n<td>Pays for the cost of the dinner</td>\n</tr>\n<tr>\n<td>Line producer</td>\n<td>Finds where to get the best deals</td>\n</tr>\n<tr>\n<td>Producer</td>\n<td>Purchases the groceries, helps choose the brands</td>\n</tr>\n<tr>\n<td>Casting director</td>\n<td>Chooses the food that’s ripe for the picking</td>\n</tr>\n<tr>\n<td>Location scout</td>\n<td>Locates the dinner location</td>\n</tr>\n<tr>\n<td>Transportation</td>\n<td>Transports the guests to the table</td>\n</tr>\n<tr>\n<td>Director</td>\n<td>Takes all the ingredients and cooks them into a great meal</td>\n</tr>\n<tr>\n<td>Assistant director</td>\n<td>Assists the chef</td>\n</tr>\n<tr>\n<td>Script supervisor</td>\n<td>Makes sure the chef follows the recipe</td>\n</tr>\n<tr>\n<td>Director of photography (cinematographer)</td>\n<td>Makes the food look really good</td>\n</tr>\n<tr>\n<td>Sound mixer</td>\n<td>Records all the crunches and lip smacking</td>\n</tr>\n<tr>\n<td>Boom operator</td>\n<td>Gets the microphone in close to hear all the crunches and lip smacking</td>\n</tr>\n<tr>\n<td>Gaffer</td>\n<td>Lights the food to look good (sets the mood with a candlelit dinner)</td>\n</tr>\n<tr>\n<td>Grips</td>\n<td>Help with the utensils for eating the meal</td>\n</tr>\n<tr>\n<td>Production assistants</td>\n<td>Act as waiters and busboys</td>\n</tr>\n<tr>\n<td>Makeup person</td>\n<td>Brushes on healthy colors to prepare the food to look appetizing</td>\n</tr>\n<tr>\n<td>Wardrobe person</td>\n<td>Dresses the food to look tasty</td>\n</tr>\n<tr>\n<td>Production designer</td>\n<td>Enhances the setting and decorates it for dinner</td>\n</tr>\n<tr>\n<td>Prop master</td>\n<td>Supplies the appropriate tableware, including plates and glasses</td>\n</tr>\n<tr>\n<td>Stunt coordinator</td>\n<td>Rigs the exploding champagne bottles and smashing of silverware</td>\n</tr>\n<tr>\n<td>Editor</td>\n<td>Serves the meal in continuity (appetizer first, entrée next, dessert at the end)</td>\n</tr>\n<tr>\n<td>Composer</td>\n<td>Creates the right music atmosphere for enjoying the meal</td>\n</tr>\n<tr>\n<td>Post-production supervisor</td>\n<td>Cleans up the mess!</td>\n</tr>\n</tbody>\n</table>\n</td>\n</tr>\n</tbody>\n</table>\n"},{"title":"A filmmaker’s pre-shooting checklist","thumb":null,"image":null,"content":"<p>A pre-shooting checklist is a must for any filmmaker. Using a checklist helps you to prepare certain things before even setting foot on your set. Increase your chances of having a successful shoot by using this checklist:</p>\n<ul>\n<li>Make sure the money’s in the bank (is your investor for real?).</li>\n<li>Hire a great cook or caterer.</li>\n<li>Buy insurance (for crew, equipment, and locations).</li>\n<li>Book a professional still photographer, or have your crew take smartphone shots for publicity stills (needed for advertising and posters when you set up distribution).</li>\n<li>Secure location permits if necessary (so the police don’t bust you).</li>\n<li>Make sure all contracts are signed with cast, crew, and location owners, and get releases from everyone on camera — especially background people.</li>\n</ul>\n"},{"title":"How to enhance the production value of your movie","thumb":null,"image":null,"content":"<p>Making a movie that looks and sounds professional with high production values is an art and a science. As a <a href=\"https://dummies-wp-admin.dummies.com/photography/video/tips-for-making-a-good-documentary-film/\" target=\"_blank\" rel=\"noopener\">budget-conscious filmmaker</a>, you can enhance the production value of your production by using the tips in the following list to stretch your budget to cover the essentials and arrange some of the extras for little to no cost:</p>\n<ul>\n<li>Barter for things you can’t afford to pay for. “Give me this, and I’ll give you a credit or show your product or location in my movie!”</li>\n<li>Use big locations. Expansive looks expensive.</li>\n<li>Use large crowds to make your movie look like a bigger production. Instead of only 3 people standing in line, have 100! (Use free volunteers.)</li>\n<li>Move the camera.</li>\n<li>Get in a high shot or two. Shooting from an apartment balcony works great.</li>\n<li>Use an aerial shot to open up your film. If you can’t afford to rent a helicopter, license stock footage to use in your film.</li>\n<li>Make sure you get believable performances from your actors.</li>\n<li>Get a crisp, clear recording of your actors’ dialogue.</li>\n<li>Get professional music. A great composer can do wonders on your music score.</li>\n<li>Hire a cinematographer with a good eye. A good cinematographer can make your movie look impressive — what you see is what you get.</li>\n</ul>\n"},{"title":"Items to bring to a film shoot location","thumb":null,"image":null,"content":"<p>Shooting a film on location keeps your filmmaking interesting, but it can also make your nerves frazzled. Before you head out on location, make sure you have everything you need — the items in the following list are crucial:</p>\n<ul>\n<li>GPS address to the location</li>\n<li>Masking tape, duct tape, rope</li>\n<li>Camera</li>\n<li>Tripod</li>\n<li>Sound recorder</li>\n<li>Actors’ wardrobe</li>\n<li>Microphones</li>\n<li>Film, SD memory cards or hard drives (depending on what format you’re shooting with)</li>\n<li>Extra batteries</li>\n<li>Storyboards and the shot list</li>\n<li>Lights</li>\n<li>Copy of the script</li>\n<li>Extension cords</li>\n</ul>\n"}],"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Advance","lifeExpectancy":"Two years","lifeExpectancySetFrom":"2022-02-23T00:00:00+00:00","dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":209011},{"headers":{"creationTime":"2016-03-27T16:56:30+00:00","modifiedTime":"2021-11-30T21:11:20+00:00","timestamp":"2022-09-14T18:18:49+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Screenwriting For Dummies Cheat Sheet","strippedTitle":"screenwriting for dummies cheat sheet","slug":"screenwriting-for-dummies-cheat-sheet","canonicalUrl":"","seo":{"metaDescription":"Screenwriting requires that you adhere to specific script formatting standards. As a screenwriter, you also need to know basic camera directions so that you can","noIndex":0,"noFollow":0},"content":"Screenwriting requires that you adhere to specific script formatting standards. As a screenwriter, you also need to know basic camera directions so that you can included them in your scripts, and you need to write interesting characters to drive your story forward.\r\n\r\nMost producers give a script the five-and-dime treatment, meaning they’ll read the first five pages and the last ten to assess whether a movie is for them. They’re primarily looking for scripts that are between 90 and 120 pages with a compelling hook and a clear sense of style and/or genre. Format is one way to convey those things efficiently.","description":"Screenwriting requires that you adhere to specific script formatting standards. As a screenwriter, you also need to know basic camera directions so that you can included them in your scripts, and you need to write interesting characters to drive your story forward.\r\n\r\nMost producers give a script the five-and-dime treatment, meaning they’ll read the first five pages and the last ten to assess whether a movie is for them. They’re primarily looking for scripts that are between 90 and 120 pages with a compelling hook and a clear sense of style and/or genre. Format is one way to convey those things efficiently.","blurb":"","authors":[{"authorId":10387,"name":"Laura Schellhardt","slug":"laura-schellhardt","description":" <p><b>Laura Schellhardt</b> is an Associate Professor of Instruction at Northwestern University, where she heads the undergraduate playwriting program in the Department of Theatre. She&#8217;s dedicated her life to creating new work for stage and screen, and it&#8217;s her mission to help other writers do the same.</p> ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10387"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[],"relatedArticles":{"fromBook":[],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":288921,"slug":"screenwriting-for-dummies-3rd-edition","isbn":"9781119835752","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119835755/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119835755/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119835755-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119835755/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119835755/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/9781119835752-203x255.jpg","width":203,"height":255},"title":"Screenwriting For Dummies","testBankPinActivationLink":"","bookOutOfPrint":true,"authorsInfo":"<p><b><b data-author-id=\"10387\">Laura Schellhardt</b></b> is an Associate Professor of Instruction at Northwestern University, where she heads the undergraduate playwriting program in the Department of Theatre. She&#8217;s dedicated her life to creating new work for stage and screen, and it&#8217;s her mission to help other writers do the same.</p>","authors":[{"authorId":10387,"name":"Laura Schellhardt","slug":"laura-schellhardt","description":" <p><b>Laura Schellhardt</b> is an Associate Professor of Instruction at Northwestern University, where she heads the undergraduate playwriting program in the Department of Theatre. She&#8217;s dedicated her life to creating new work for stage and screen, and it&#8217;s her mission to help other writers do the same.</p> ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10387"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119835752&quot;]}]\" id=\"du-slot-63221b0962576\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119835752&quot;]}]\" id=\"du-slot-63221b0962fa3\"></div></div>"},"articleType":{"articleType":"Cheat Sheet","articleList":[{"articleId":192892,"title":"How to Format a Screenplay","slug":"how-to-format-a-screenplay","categoryList":[],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/192892"}},{"articleId":192891,"title":"Basic Camera Directions Every Screenwriter Should Know","slug":"basic-camera-directions-every-screenwriter-should-know","categoryList":[],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/192891"}},{"articleId":192893,"title":"Character Checklist for Screenwriters","slug":"character-checklist-for-screenwriters","categoryList":[],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/192893"}}],"content":[{"title":"How to format a screenplay","thumb":null,"image":null,"content":"<p>As a screenwriter, you want to submit scripts that comply with accepted standards. Formatting your screenplay correctly makes it easy to read and often easier to sell. The following tips tell you how to set up your page in the proper screenwriting format.</p>\n<p>The six components of your page are</p>\n<ul>\n<li><strong>The description:</strong> Any description of the location, characters, and action indicated throughout the scene. Also referred to as the business of the scene.</li>\n<li><strong>The character name:</strong> Who’s doing the talking</li>\n<li><strong>The character dialogue:</strong> What that person says</li>\n<li><strong>Parenthetical directions:</strong> How a character says a line or what they’re doing while they say it</li>\n<li><strong>Transitional directions:</strong> Any camera indications of how the scene should be visualized</li>\n<li><strong>The page number:</strong> Usually placed in the top-right corner</li>\n</ul>\n<p>The following list covers where to set margins and how to format the page:</p>\n<p>&lt;replace @@bf with built fractions below (three times)&gt;</p>\n<ul>\n<li><strong>Left margin:</strong> 1-1/2 inches</li>\n<li><strong>Right margin:</strong> 1 inch</li>\n<li><strong>Top margin:</strong> 1 inch</li>\n<li><strong>Bottom margin:</strong> 1 inch</li>\n<li><strong>Sluglines:</strong> Always capitalized. Run the length of the page (after you’ve set margins)</li>\n<li><strong>Description:</strong> Runs the length of the page (after you’ve set margins)</li>\n<li><strong>Character name: </strong>3.7 inches from the left side of the page. (2.2 inches from the left margin)</li>\n<li><strong>Dialogue:</strong> Begins 2-1/2 inches from the left side of the page (1-1/2 inches from the left margin). Ends at 6-1/2 inches from the left side of the page (5 inches from the left margin)</li>\n<li><strong>Parentheticals:</strong> 3.1 inches from the left side of the page. (1.6 inches from the left margin)</li>\n<li><strong>Page numbers:</strong> Top-right corner, a half-inch from the top of the page. Followed by a period</li>\n</ul>\n"},{"title":"Basic camera directions every screenwriter should know","thumb":null,"image":null,"content":"<p>As a screenwriter, you compose the blueprint everyone involved in a movie uses: the actors for dialogue, the director for composing scenes, and the camera operators for camera shots.</p>\n<p>You can actually use camera direction to evoke mood and emotion, so it’s in your interest to become familiar with the information on camera angles in the following list.</p>\n<table>\n<tbody>\n<tr>\n<td><strong>Angle on:</strong> This shot suggests another view of a previous shot.</td>\n<td><strong>Montage</strong>: The dissolving of two or more shots into each other to create a desired effect, usually an association of ideas. These shots need not include the main character, and they don’t have a beginning, middle, and end.</td>\n</tr>\n<tr>\n<td><strong>Close-up: </strong>A shot that emphasizes a detail in a scene. It’s often abbreviated to CU.</td>\n<td><strong>O.S.:</strong> Shorthand for off-screen, this abbreviation is used when a character speaks outside the camera’s view, or when the audience hears a sound but can’t see where it’s coming from.</td>\n</tr>\n<tr>\n<td><strong>Continuation:</strong> When a scene or a speech is interrupted by a page break, type MORE in parentheses at the end of the last line on the first page, and then type CONT’D after the character’s name on the next page.</td>\n<td><strong>POV:</strong> Shorthand for point of view, this direction implies that the scene is being viewed from another character’s perspective. You must identify whose point of view it is and what exactly he sees. If the POV alternates within a scene, employ the term REVERSE POV.</td>\n</tr>\n<tr>\n<td><strong>Dissolve to:</strong> This direction is used when you want to suggest a slow transition from one scene to the next. You may dissolve to suggest the passage of time between one shot and another or to suggest one image fading into the next.</td>\n<td><strong>Series of shots:</strong> This technique abridges action sequences into a number of short moments involving the main character, usually without dialogue. A series of shots has a distinct beginning, middle and end, and is often used to dramatize a passage of time.</td>\n</tr>\n<tr>\n<td><strong>Fade in:</strong> Every screenplay begins with these words. They suggest the movement from darkness to an image on the screen. They’re typed in all caps at the left margin followed by a double space and the first slug line.</td>\n<td><strong>Split screen:</strong> This shot indicates two subjects in different locations on-screen simultaneously.</td>\n</tr>\n<tr>\n<td><strong>Fade out:</strong> These words end a screenplay. They’re typed to the right margin and followed by six spaces and the words THE END in the center of the page.</td>\n<td><strong>Super: </strong>Shorthand for superimpose, this term is used if another element is being superimposed over the action of a scene. A super is often used to show dates, locations, or translation texts.</td>\n</tr>\n<tr>\n<td><strong>Insert:</strong> A writer uses this direction to highlight an object in the scene or include a detail that’s outside the scene but important to it. To complete an insert, do one of three things: Return to the dialogue, switch locations with a new slug line, or type BACK TO SCENE at the end.</td>\n<td><strong>V.O.:</strong> Shorthand for voice-over. This direction is used when the audience hears a character speak above the action of a scene. It’s often used for narration.</td>\n</tr>\n<tr>\n<td><strong>Intercut:</strong> This direction indicates that two scenes are occurring simultaneously in separate locations. This term appears in all caps as the slug line or in the description.</td>\n<td></td>\n</tr>\n</tbody>\n</table>\n"},{"title":"Character checklist for screenwriters","thumb":null,"image":null,"content":"<p>In most screenplays, the characters drive the action, so as a screenwriter, you need to make your characters consistent and compelling. To help get a feel for your characters, decide where each character stands on the following characteristics.</p>\n<table>\n<tbody>\n<tr>\n<td width=\"249\">A distinct and detailed physical form?</td>\n<td>Opinions, beliefs, and world views?</td>\n</tr>\n<tr>\n<td width=\"249\">A job or way to earn a living?</td>\n<td>Friends, allies, and/or confidants?</td>\n</tr>\n<tr>\n<td width=\"249\">A place to return to at the end of the day?</td>\n<td>A strong external antagonist?</td>\n</tr>\n<tr>\n<td width=\"249\">A safe place to relax?</td>\n<td>Equally strong internal obstacles?</td>\n</tr>\n<tr>\n<td width=\"249\">Locations they love, loathe, and fear?</td>\n<td>Talents and the opportunity to express them?</td>\n</tr>\n<tr>\n<td width=\"249\">Concrete, positive goals?</td>\n<td>Unique and familiar routines?</td>\n</tr>\n</tbody>\n</table>\n"}],"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Explore","lifeExpectancy":"Two years","lifeExpectancySetFrom":"2021-10-15T00:00:00+00:00","dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":209076},{"headers":{"creationTime":"2021-04-20T18:47:17+00:00","modifiedTime":"2021-04-20T18:47:17+00:00","timestamp":"2022-09-14T18:18:04+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Bollywood For Dummies Cheat Sheet","strippedTitle":"bollywood for dummies cheat sheet","slug":"bollywood-for-dummies-cheat-sheet","canonicalUrl":"","seo":{"metaDescription":"This Cheat Sheet serves as a handy guide to give you a preview of the world of cinema of the Indian subcontinent—Bollywood!","noIndex":0,"noFollow":0},"content":"Bollywood is one of the largest film industries in the world and is chock-full of colorful characters, talented actors and actresses, epic song and dance numbers, elegant fashion, and memorable dialogue. The largest movie industry in the cultural mecca that is <a href=\"https://www.dummies.com/personal-finance/investing/emerging-markets/the-emerging-market-in-india/\">India</a>, Bollywood has innumerable surprises and layers of fun for any fan to unpack. Even avid Bollywood fans are constantly discovering new corners of this marvelous film industry. This Cheat Sheet serves as a handy guide to give you a preview of the Indian subcontinent's world of cinema.\r\n\r\n[caption id=\"attachment_284322\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-284322\" src=\"https://www.dummies.com/wp-content/uploads/bollywood-sign.jpg\" alt=\"Bollywood\" width=\"556\" height=\"389\" /> Source: © Igor Kyrlytsya / Shutterstock.com[/caption]","description":"Bollywood is one of the largest film industries in the world and is chock-full of colorful characters, talented actors and actresses, epic song and dance numbers, elegant fashion, and memorable dialogue. The largest movie industry in the cultural mecca that is <a href=\"https://www.dummies.com/personal-finance/investing/emerging-markets/the-emerging-market-in-india/\">India</a>, Bollywood has innumerable surprises and layers of fun for any fan to unpack. Even avid Bollywood fans are constantly discovering new corners of this marvelous film industry. This Cheat Sheet serves as a handy guide to give you a preview of the Indian subcontinent's world of cinema.\r\n\r\n[caption id=\"attachment_284322\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-284322\" src=\"https://www.dummies.com/wp-content/uploads/bollywood-sign.jpg\" alt=\"Bollywood\" width=\"556\" height=\"389\" /> Source: © Igor Kyrlytsya / Shutterstock.com[/caption]","blurb":"","authors":[{"authorId":9212,"name":"Anum Hussain","slug":"anum-hussain","description":" <p><b>Maaz Ali and Maaz Khan</b> are co-hosts of <i>Desi Standard Time</i>, a podcast focused on Bollywood films, South Asian cinema and media, and the influence of both on their own lives and the rest of the world.</p> <p><b>Anum Hussain</b> serves as producer of the podcast. She is also co-author of the current edition of <i>Twitter For Dummies</i>.</p> ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/9212"}},{"authorId":34448,"name":"Maaz Ali","slug":"maaz-ali","description":" <p><b>Maaz Ali and Maaz Khan</b> are co-hosts of <i>Desi Standard Time</i>, a podcast focused on Bollywood films, South Asian cinema and media, and the influence of both on their own lives and the rest of the world.</p> <p><b>Anum Hussain</b> serves as producer of the podcast. She is also co-author of the current edition of <i>Twitter For Dummies</i>.</p> ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/34448"}},{"authorId":34449,"name":"Maaz Khan","slug":"maaz-khan","description":" <p><b>Maaz Ali and Maaz Khan</b> are co-hosts of <i>Desi Standard Time</i>, a podcast focused on Bollywood films, South Asian cinema and media, and the influence of both on their own lives and the rest of the world.</p> <p><b>Anum Hussain</b> serves as producer of the podcast. She is also co-author of the current edition of <i>Twitter For Dummies</i>.</p> ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/34449"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[],"relatedArticles":{"fromBook":[],"fromCategory":[{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":0,"slug":null,"isbn":null,"categoryList":null,"amazon":null,"image":null,"title":null,"testBankPinActivationLink":null,"bookOutOfPrint":false,"authorsInfo":null,"authors":null,"_links":null},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[null]}]\" id=\"du-slot-63221add02158\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[null]}]\" id=\"du-slot-63221add02a2f\"></div></div>"},"articleType":{"articleType":"Cheat Sheet","articleList":[{"articleId":0,"title":"","slug":null,"categoryList":[],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/"}}],"content":[{"title":"Film Industries in the Subcontinent","thumb":null,"image":null,"content":"<p>Movies and cinema are a huge staple of India’s national identity. In fact, the country is scattered with several film industries combining to produce anywhere from 1,500 to 2,000 films a year. Historically speaking, each industry has cultivated talents and influences that gained notoriety in their native cinemas prior to making their way into Bollywood. Here are some of the cinema names and nicknames you may encounter:</p>\n<ul>\n<li><strong>Bollywood:</strong> The Hindi language film industry based in Mumbai (formerly known as Bombay). In fact, that’s how it gets its name: Bombay + Hollywood = Bollywood. Another name or way to refer to Bollywood is Hindi Film or the Hindi Film Cinema.</li>\n<li><strong>Tollywood:</strong> There are two Tollywoods:\n<ul>\n<li>One is based in the Tollygunge region of West Bengal.</li>\n<li>The other is for the Telegu-language film industry based in and around Hyderabad, Telangana, India.</li>\n</ul>\n</li>\n</ul>\n<p style=\"padding-left: 40px;\">Both industries derive their names from the first letter of the region in which they are produced; the “T” in Tollygunge and Telangana plus Hollywood leads to the popularized term “Tollywood” for both industries.</p>\n<ul>\n<li><strong>Kollywood:</strong> Tamil language–based cinema produced out of the Kodambakkam neighborhood of Chennai, India. Again, the industry name is made by combining Kodambakkam and Hollywood.</li>\n<li><strong>Lollywood:</strong> The major film industry of India’s neighboring country, Pakistan. Based out of one of the major Pakistani cities, Lahore. Keeping in line with naming trends, this industry’s name is a combination of Lahore and Hollywood.</li>\n</ul>\n"},{"title":"Unique Terms Specific to Working on a Bollywood Film","thumb":null,"image":null,"content":"<p>Completing a large-scale film is a long and arduous effort that requires the expertise of many professionals. Although filmmaking in the United States and India do have a lot of overlap, the following terms and titles are more specific to filmmaking in Bollywood:</p>\n<ul>\n<li><strong>Item number:</strong> A song inserted into a film featuring a cameo appearance of a well-known Bollywood actor or actress. Item numbers help with a film’s marketing and typically veer on the side of being either racy, catchy, or inclusive of a fun dance number.</li>\n<li><strong>Playback singer: </strong>A singer whose singing is pre-recorded and featured in Bollywood films. The film’s featured actors lip synch the songs during the movie.</li>\n<li><strong>Music director</strong>: The musical supervisor is in charge of composing the film’s score as well as assembling the singers, lyricists, and musicians.</li>\n<li><strong>Choreographer:</strong> The person who composes the dance routines for the songs in a Bollywood film.</li>\n</ul>\n"},{"title":"A Feel for All Things Bollywood: Desi Standard Time Podcast","thumb":null,"image":null,"content":"<p>This esteemed podcast, <em><a href=\"http://www.desistandardtime.com/\">Desi Standard Time</a>,</em> by Maaz Ali, Maaz Khan, and Anum Hussain has two hip-thrusting seasons that cover all things related to South Asian media and entertainment with each episode focusing on the trends and influences embedded in film, TV, music, and dance. The following list serves as a referral guide for the first two seasons: Season One on Bollywood and Season Two on Pakistan.</p>\n<h3>Season One: Bollywood</h3>\n<p>Covering all things Bollywood, the first season of the podcast takes a critical look at trends in Bollywood, where they come from, and how they affect the industry’s viewers.</p>\n<h4>Dance</h4>\n<ul>\n<li>“<a href=\"https://audioboom.com/posts/7346483-we-are-hip\">We Are Hip</a>” (Episode 1): This episode zeroes in on the pelvic thrust and other memorable dance trends of 1990s Bollywood.</li>\n<li>“<a href=\"https://audioboom.com/posts/7352409-kitne-door-kitne-paas\">Kitne Door, Kitne Paas</a>” (So Far, Yet So Close, Episode 2): It touches on the stars that grew popular solely from their looks and epic dance moves.</li>\n</ul>\n<h4>Music</h4>\n<ul>\n<li>“<a href=\"https://audioboom.com/posts/7363905-angrezi-babu\">Angrezi Babu</a>” (English Man, Episode 4): This episode focuses on the highs and lows of the English language usage in Bollywood dialogues and songs.</li>\n<li>“<a href=\"https://audioboom.com/posts/7396236-sa-re-ga-ma-az-pa\">Sa Re Ga Ma(az) Pa</a>” (Initial Four Notes of Indian Music, Episode 9): This takes a deep dive into the history of Hindi Film soundtracks.</li>\n</ul>\n<h4>Film and Culture</h4>\n<ul>\n<li>“<a href=\"https://audioboom.com/posts/7371002-konflikt-with-karan\">Konflikt with Karan</a>” (Episode 5): This episode dissects one of Bollywood’s most infamous directors and personalities, Karan Johar.</li>\n<li>“<a href=\"https://audioboom.com/posts/7377520-aankh-marey\">Aankh Marey</a>” (Wink, Episode 6): Eyes, eyes, and more eyes. Find out about the best staredowns, sexy winks, twitches, and why they’re so memorable and particular to Indian cinema.</li>\n<li>“<a href=\"https://audioboom.com/posts/7383921-genre-samjha-karo\">Genre Samjha Karo</a>” (Understand the Genre, Episode 7): This episode addresses the films that attempted to break boundaries and present new kinds of Bollywood movies.</li>\n<li>“The Rise and Fall of King Khan” <a href=\"https://audioboom.com/posts/7402441-the-rise-and-fall-of-king-khan-p-i\">Part 1</a> and <a href=\"https://audioboom.com/posts/7408710-the-rise-and-fall-of-king-khan-p-ii\">Part 2</a> (Episodes 10 and 11): These episodes discuss the biggest star in Bollywood history, Shah Rukh Khan, and the highs and lows of his career.</li>\n</ul>\n<h3>Season Two: Pakistan</h3>\n<p>Season Two of the podcast examines India’s neighbor Pakistan and the wealth of media produced there. From music to TV to film, this season takes a look at all things Pakistani media and how they inevitably influence other industries of the world, particularly Bollywood.</p>\n<h4>Music</h4>\n<ul>\n<li>“<a href=\"https://audioboom.com/posts/7688223-coca-cola-tuuu\">Coca Cola Tuuu</a>” (Episode 3): Find out about Pakistan’s premiere music television series Coke Studio and its global impact, plus a bonus interview with one of its premiere stars, Ali Sethi.</li>\n<li>“<a href=\"https://audioboom.com/posts/7698722-rock-on-pakistan\">Rock On, Pakistan</a>” (Episode 5): Discover more about the origins and history of rock and roll in Pakistan.</li>\n<li>“<a href=\"https://audioboom.com/posts/7714696-ustad-ed-from-the-bottom\">USTAD-ed from the Bottom</a>” (Episode 6): This addresses the soulful and powerful medium that is qawwali music then, now, and forever.</li>\n<li>“<a href=\"https://audioboom.com/posts/7719710-pop-kistan\">Pop-Kistan</a>” (Episode 7): This podcast focuses on the ever so POPular mainstream tunes of Pakistan.</li>\n<li>“<a href=\"https://audioboom.com/posts/7731566-desi-poets-society\">Desi Poet’s Society</a>” (Episode 8): Listen about Pakistan’s rich poetry scene and how it was the genesis of songwriting in both Pakistan and Bollywood.</li>\n</ul>\n<h4>Film and TV</h4>\n<ul>\n<li><em>“</em><a href=\"https://audioboom.com/posts/7672495-season-2-teaser-interview-with-producer-kamil-chima\"><em>Interview with Producer Kamil Chima</em></a><em>”</em> (Season 2 Teaser): The producer of the Oscar-nominated film <em>Laal Kabootar </em>(Red Pigeon) gives the lay of the land for Pakistani filmmaking.</li>\n<li><em>“</em><a href=\"https://audioboom.com/posts/7676958-crossover-into-bollywood\"><em>Crossover into Bollywood</em></a><em>”</em> (Episode 1): Different Pakistani talent have made their way into the cinematic juggernaut of India, Bollywood.</li>\n<li><em>“</em><a href=\"https://audioboom.com/posts/7682589-border?playlist_direction=forward\"><em>Border</em></a><em>” </em>(Episode 2): Listen to the interesting and often controversial depiction of Pakistanis in Bollywood films.</li>\n<li><em>“</em><a href=\"https://audioboom.com/posts/7693111-don-t-be-so-dramatic\"><em>Don’t Be So Dramatic</em></a><em>”</em> (Episode 4): Find out more about the wildly popular history of TV serials in Pakistan.</li>\n</ul>\n"}],"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Explore","lifeExpectancy":"One year","lifeExpectancySetFrom":null,"dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":284321},{"headers":{"creationTime":"2019-12-30T23:17:47+00:00","modifiedTime":"2019-12-30T23:17:47+00:00","timestamp":"2022-09-14T18:17:27+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"10 Tips for Shooting on Your Smartphone","strippedTitle":"10 tips for shooting on your smartphone","slug":"10-tips-for-shooting-on-your-smartphone","canonicalUrl":"","seo":{"metaDescription":"Learn how to use your smartphone to shoot a professional looking short movie, or even a full-length feature and how to use a selfie stick as a camera crane.","noIndex":0,"noFollow":0},"content":"Today’s smartphones are so sophisticated, and the technology so advanced, you can shoot a professional looking short movie, or even a full-length feature on your smartphone. Your phone probably shoots 4K broadcast quality images — something that many older expensive video cameras can’t even do.\r\n\r\nSome of the advantages to shooting with your smartphone include:\r\n<ul>\r\n \t<li>You just point and shoot.</li>\r\n \t<li>You don’t have to fuss with bulky movie lenses.</li>\r\n \t<li>No manual F or T stops to deal with.</li>\r\n \t<li>No depth of field or focus headaches.</li>\r\n \t<li>No exposure issues.</li>\r\n \t<li>No need to lug around a heavy, bulky camera.</li>\r\n \t<li>Your phone is always with you — ready to capture that million-to-one encounter or shoot that on-the-spot great idea.</li>\r\n</ul>\r\n<h2 id=\"tab1\" >Shooting in Landscape</h2>\r\nThe first thing you have to remember is you’re shooting a movie, not a photo, not a selfie, and not something you’re just going to post to Facebook or Instagram. So, you now have to remember to turn your smartphone sideways. This is called <em>landscape mode</em>. The normal way you’re use to holding your phone is <em>profile mode</em>. Note that landscape mode resembles the dimensions of your 16x9 TV. Note also that when you watch YouTube videos or feature films on your smartphone, you turn it sideways for the image to fill the whole screen. If you don’t shoot your movie in landscape mode, you’ll have black bars on each side of the image, and your movie will not fill the entire screen. So, landscape, don’t profile!\r\n<p class=\"article-tips tip\">Always make sure your smartphone is charged and ready to go. Shooting video on your phone drains the battery faster than talking or listening to music on your phone.</p>\r\n\r\n<h2 id=\"tab2\" >Take Off with Airplane Mode</h2>\r\nYou’re moving in for the perfect shot, the actors embrace, and you’re capturing a priceless moment — <em>and</em> then your perfect shot is interrupted by your <em>phone ringing</em> — your camera is ringing<em>! “Cut! Hello? Hi mom, I’m busy, shooting my movie.”</em> It’s happened to me.\r\n\r\nGo into your phone settings and put your phone on <em>airplane mode</em>. All the functions of your phone will work except your shoot won’t be interrupted by another phone call or annoying text. You want your smartphone to be a 100-percent dedicated camera for your shoot, not a communications device.\r\n<h2 id=\"tab3\" >Steady as She Goes</h2>\r\nYour smartphone is already a sophisticated movie camera. Most smartphones have a built-in stabilizer to ensure steadier shots. Often, you can handhold your smartphone for many of your shots, especially moving or following shots.\r\n<h2 id=\"tab4\" >Steady as a Rock</h2>\r\nFor steady tripod shots, you can get special adapters for your phone that have a tripod mount, so you can attach the phone to a tripod for rock-solid shots or for smooth panning ones. You’ll find plenty of smartphone tripod adapters on Amazon for as low as $5.\r\n<h2 id=\"tab5\" >Shooting Format and Resolution</h2>\r\nBefore you start shooting with your smartphone, you need to go into your camera video settings. You will have a choice of resolution quality. Usually the options are 720, 1080 (2K) and 4K. I’m sure that 6K and up will soon be available for your phone. I recommend shooting on 720 or 2K because the quality is awesome and both resolutions are broadcast quality. If you shoot in 4K, you will very quickly eat up a lot of storage space on your phone. In the video settings, you should also have the choice of shooting at 30 frames per second or 24 frames per second. Choose 24fps for a more film-like look. A great smartphone app called Filmic Pro will add even more professional shooting options to your already advanced smartphone.\r\n<h2 id=\"tab6\" >Saving Your Movie Files</h2>\r\nDepending on your smartphone’s built-in storage capacity — or if your smartphone has a removable SD memory card — you will have to constantly offload (transfer) your shots to an external hard drive or your computer. If you don’t, your phone’s memory will soon fill up and you will have no more room to shoot anything.\r\n\r\nSome smartphones connect to your computer via USB and allow you to download your footage this way. An iPhone allows you to wirelessly download your footage from your phone using Airdrop. This allows you to easily and effortlessly download your footage, which then you can erase (trash) off your phone and continue shooting. There’s also a great (free) app called Simple Transfer, which is absolutely one of my favorite apps. It lets you view all your phone’s photos and movies on your computer desktop, and you can choose which shots you want to download from your phone to your computer in one batch — so you don’t have to transfer one shot at a time. I absolutely love this app so much it’s on my phone’s main home screen.\r\n\r\nMany smartphones are now synced up with the cloud, so, chances are, your smartphone footage will automatically download to your computer if both are talking to the cloud.\r\n<p class=\"article-tips warning\">I can’t emphasize this warning enough. If your phone is talking to the cloud and your footage is automatically downloaded to your computer, be absolutely sure to move those shots (digital video files) to a separate folder <em>outside your camera roll</em>. If you don’t, they will all get erased in the cloud when you erase them off your phone. They will also get erased off your computer and any other device that also talks to the cloud. This is one major flaw of syncing with the cloud — most people think they can trash stuff on their phone to free up memory because it was transferred to their computer and lives in the cloud, but in reality, your computer is talking to the cloud and unless you transfer it out of your camera roll into a folder on your desktop, you’ll lose everything.</p>\r\n<p class=\"article-tips remember\">All your movie files will be saved to your camera roll in your phone and filed under Videos. But move your movie shots out of the camera roll into a special folder that isn’t mirroring your camera roll in the cloud.</p>\r\n\r\n<h2 id=\"tab7\" >Miniature Camera Equipment</h2>\r\nThe great thing about your movie camera being your smartphone is that everything is light and portable. Your phone is also small enough to mount on a car dashboard or adhere to the car window (on the inside) for great single shots of your driver and passenger or a nice two shot from inside the windshield. Or, turn your phone around so it’s looking out your windshield for a nice POV (point-of-view) shot of the road.\r\n<p class=\"article-tips tip\">Use a selfie-stick as your camera crane for high shots or low to the ground shots. (See the following figure.) Cut a slot out of a paper cup to make a tripod to hold your phone — this also works great as a dolly, too — and just slide the cup along a desk top or the floor. Try furniture sliders to slide your smartphone along carpets or hardwood floors for smooth dolly shots.</p>\r\n\r\n\r\n[caption id=\"attachment_266980\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266980\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-selfie-stick.jpg\" alt=\"A selfie stick used as a camera crane\" width=\"556\" height=\"446\" /> Model: Honey Bear.<br /><br />A selfie stick used as a camera crane for the Smartphone. High and low shots.[/caption]\r\n\r\nIf you want professional-looking dolly shots, check out <a href=\"http://www.dynoequipment.com/\">Dyno Trek</a>. It’s a miniature, motorized dolly system (also called a <em>slider system</em>) built just for smartphones. It comes with tracks that magnetically hook together for flawless, smooth movement. You can dolly in and out and side to side, or turn the track vertically and get dolly-up and dolly-down shots. You can program the speed of the dolly and even set it up to move in sync with your smartphone for time-lapse shots or stop-motion animation. The kit is lightweight and portable and comes in a sturdy carry case.\r\n<p class=\"article-tips tip\">If you have an older smartphone that you put away after you bought the latest and greatest upgrade, it may be time to dust it off. Even though cellular service isn’t activated on your old phone, all its camera functions should be working fine. It’s really an iPod without cellular service. But you still have Wi-Fi!</p>\r\nThis old smartphone can be used as your action backup camera (make sure it’s not a big deal if this extra phone gets damaged or destroyed). Place it in the middle of a quiet neighborhood street and have your actor in a car drive over and past the camera. Just make sure he knows to keep the smartphone between the tires! Secure this “B” action camera on the outside of your car for some dramatic driving shots. You can even find a car suction cup mounting device for your smartphone on Amazon — or, just use lots of masking tape on the phone to secure it. (I recommend tying the phone down securely — just in case. The wind could catch it and send it flying!)\r\n\r\nThrow the phone in the air to a friend to simulate the POV of a ball being tossed back and forth. I recommend doing this on the grass in case one of you misses a catch.\r\n<h2 id=\"tab8\" >Use Several Smartphones to Capture Your Movie</h2>\r\nPretty much everyone on your crew (even if there’s just two of you) has a smartphone, so any one of these could be used as a second or third camera on your shoot. If you have two actors talking, you can save time by having one smartphone on each actor, instead of using one camera to shoot each actor separately. You can also use an extra smartphone for your wide shots, and another for close-ups (just don’t get the phones used for close-ups in the wide shot!)\r\n<p class=\"article-tips tip\">Apple’s iPhone 11 Pro was the catalyst for the creation of a new triple-camera system that allows users to shoot multiple different-size shots at the same time with just one smartphone camera. This iPhone has three different lenses: a telephoto lens, a wide lens, and an ultra-wide lens. Using a revolutionary app developed by Filmic Pro through the App Store, each lens can record its own file — thus creating three different-sized shots at one time. It’s like three cameras rolled into one smartphone. It’s also invaluable for documentaries and spur-of-the-moment events.</p>\r\nAnother ingenious advancement with the Filmic Pro app, is the ability to use the iPhone Pro 11 to shoot an interview in which both the interviewer and the interviewee are filmed at the same time. The app records footage from both the front and back camera at the same time and creates two separate digital files. So, you don’t have to have two separate cameras to shoot your interview! This unique technology is absolutely a game-changer for the independent filmmaker shooting with an iPhone and the Filmic Pro app!\r\n<p class=\"article-tips tip\">For more great tips and a fun book that converts into a smartphone projector with speakers, includes ticket stubs to your premiere, and even has popcorn boxes — check out my book, <em>Smartphone Movie Maker</em> at Amazon and other fine bookstores near you!</p>\r\n\r\n<h2 id=\"tab9\" >Great Sound on Your Smartphone Too!</h2>\r\nNot only can your smartphone shoot great, broadcast-quality digital images, but it also gives you pristine digital sound recording. To get the best of this, plug in a professional directional microphone. You don’t want to use your built-in smartphone microphone because it only picks up good sound close to the phone, or ambient sound from all around your environment. Some wireless sound options can record sound directly into your smartphone without the hassle of tripping over wires. <a href=\"http://www.rode.com/\">Røde</a> makes the Wireless GO, which is perfect as a wireless, compact microphone for your smartphone shoot.\r\n<h2 id=\"tab10\" >Your Smartphone Is an Entire Production Studio</h2>\r\nYour smartphone gives you a camera to shoot your movie, and it can give you great sound. But that’s not all. You pretty much have an entire production studio in your pocket! You can even write your screenplay on your smartphone with the Final Draft app for under $10. Storyboard on your phone with certain storyboard apps like Blocker by AfterNow (an absolutely amazing 3D app) and Storyboard Animator for free. You can create a shot list on your phone with an app called Shotlist – Movie Shoot Planning<em>.</em> You can also download stock footage and sound effects right to your phone. In post-production, edit your entire movie on smartphone apps like the free iPhone version of iMovie or a myriad of Android editing apps. And, when you’ve completed your movie, use your phone to upload it directly to YouTube or Vimeo!","description":"Today’s smartphones are so sophisticated, and the technology so advanced, you can shoot a professional looking short movie, or even a full-length feature on your smartphone. Your phone probably shoots 4K broadcast quality images — something that many older expensive video cameras can’t even do.\r\n\r\nSome of the advantages to shooting with your smartphone include:\r\n<ul>\r\n \t<li>You just point and shoot.</li>\r\n \t<li>You don’t have to fuss with bulky movie lenses.</li>\r\n \t<li>No manual F or T stops to deal with.</li>\r\n \t<li>No depth of field or focus headaches.</li>\r\n \t<li>No exposure issues.</li>\r\n \t<li>No need to lug around a heavy, bulky camera.</li>\r\n \t<li>Your phone is always with you — ready to capture that million-to-one encounter or shoot that on-the-spot great idea.</li>\r\n</ul>\r\n<h2 id=\"tab1\" >Shooting in Landscape</h2>\r\nThe first thing you have to remember is you’re shooting a movie, not a photo, not a selfie, and not something you’re just going to post to Facebook or Instagram. So, you now have to remember to turn your smartphone sideways. This is called <em>landscape mode</em>. The normal way you’re use to holding your phone is <em>profile mode</em>. Note that landscape mode resembles the dimensions of your 16x9 TV. Note also that when you watch YouTube videos or feature films on your smartphone, you turn it sideways for the image to fill the whole screen. If you don’t shoot your movie in landscape mode, you’ll have black bars on each side of the image, and your movie will not fill the entire screen. So, landscape, don’t profile!\r\n<p class=\"article-tips tip\">Always make sure your smartphone is charged and ready to go. Shooting video on your phone drains the battery faster than talking or listening to music on your phone.</p>\r\n\r\n<h2 id=\"tab2\" >Take Off with Airplane Mode</h2>\r\nYou’re moving in for the perfect shot, the actors embrace, and you’re capturing a priceless moment — <em>and</em> then your perfect shot is interrupted by your <em>phone ringing</em> — your camera is ringing<em>! “Cut! Hello? Hi mom, I’m busy, shooting my movie.”</em> It’s happened to me.\r\n\r\nGo into your phone settings and put your phone on <em>airplane mode</em>. All the functions of your phone will work except your shoot won’t be interrupted by another phone call or annoying text. You want your smartphone to be a 100-percent dedicated camera for your shoot, not a communications device.\r\n<h2 id=\"tab3\" >Steady as She Goes</h2>\r\nYour smartphone is already a sophisticated movie camera. Most smartphones have a built-in stabilizer to ensure steadier shots. Often, you can handhold your smartphone for many of your shots, especially moving or following shots.\r\n<h2 id=\"tab4\" >Steady as a Rock</h2>\r\nFor steady tripod shots, you can get special adapters for your phone that have a tripod mount, so you can attach the phone to a tripod for rock-solid shots or for smooth panning ones. You’ll find plenty of smartphone tripod adapters on Amazon for as low as $5.\r\n<h2 id=\"tab5\" >Shooting Format and Resolution</h2>\r\nBefore you start shooting with your smartphone, you need to go into your camera video settings. You will have a choice of resolution quality. Usually the options are 720, 1080 (2K) and 4K. I’m sure that 6K and up will soon be available for your phone. I recommend shooting on 720 or 2K because the quality is awesome and both resolutions are broadcast quality. If you shoot in 4K, you will very quickly eat up a lot of storage space on your phone. In the video settings, you should also have the choice of shooting at 30 frames per second or 24 frames per second. Choose 24fps for a more film-like look. A great smartphone app called Filmic Pro will add even more professional shooting options to your already advanced smartphone.\r\n<h2 id=\"tab6\" >Saving Your Movie Files</h2>\r\nDepending on your smartphone’s built-in storage capacity — or if your smartphone has a removable SD memory card — you will have to constantly offload (transfer) your shots to an external hard drive or your computer. If you don’t, your phone’s memory will soon fill up and you will have no more room to shoot anything.\r\n\r\nSome smartphones connect to your computer via USB and allow you to download your footage this way. An iPhone allows you to wirelessly download your footage from your phone using Airdrop. This allows you to easily and effortlessly download your footage, which then you can erase (trash) off your phone and continue shooting. There’s also a great (free) app called Simple Transfer, which is absolutely one of my favorite apps. It lets you view all your phone’s photos and movies on your computer desktop, and you can choose which shots you want to download from your phone to your computer in one batch — so you don’t have to transfer one shot at a time. I absolutely love this app so much it’s on my phone’s main home screen.\r\n\r\nMany smartphones are now synced up with the cloud, so, chances are, your smartphone footage will automatically download to your computer if both are talking to the cloud.\r\n<p class=\"article-tips warning\">I can’t emphasize this warning enough. If your phone is talking to the cloud and your footage is automatically downloaded to your computer, be absolutely sure to move those shots (digital video files) to a separate folder <em>outside your camera roll</em>. If you don’t, they will all get erased in the cloud when you erase them off your phone. They will also get erased off your computer and any other device that also talks to the cloud. This is one major flaw of syncing with the cloud — most people think they can trash stuff on their phone to free up memory because it was transferred to their computer and lives in the cloud, but in reality, your computer is talking to the cloud and unless you transfer it out of your camera roll into a folder on your desktop, you’ll lose everything.</p>\r\n<p class=\"article-tips remember\">All your movie files will be saved to your camera roll in your phone and filed under Videos. But move your movie shots out of the camera roll into a special folder that isn’t mirroring your camera roll in the cloud.</p>\r\n\r\n<h2 id=\"tab7\" >Miniature Camera Equipment</h2>\r\nThe great thing about your movie camera being your smartphone is that everything is light and portable. Your phone is also small enough to mount on a car dashboard or adhere to the car window (on the inside) for great single shots of your driver and passenger or a nice two shot from inside the windshield. Or, turn your phone around so it’s looking out your windshield for a nice POV (point-of-view) shot of the road.\r\n<p class=\"article-tips tip\">Use a selfie-stick as your camera crane for high shots or low to the ground shots. (See the following figure.) Cut a slot out of a paper cup to make a tripod to hold your phone — this also works great as a dolly, too — and just slide the cup along a desk top or the floor. Try furniture sliders to slide your smartphone along carpets or hardwood floors for smooth dolly shots.</p>\r\n\r\n\r\n[caption id=\"attachment_266980\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266980\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-selfie-stick.jpg\" alt=\"A selfie stick used as a camera crane\" width=\"556\" height=\"446\" /> Model: Honey Bear.<br /><br />A selfie stick used as a camera crane for the Smartphone. High and low shots.[/caption]\r\n\r\nIf you want professional-looking dolly shots, check out <a href=\"http://www.dynoequipment.com/\">Dyno Trek</a>. It’s a miniature, motorized dolly system (also called a <em>slider system</em>) built just for smartphones. It comes with tracks that magnetically hook together for flawless, smooth movement. You can dolly in and out and side to side, or turn the track vertically and get dolly-up and dolly-down shots. You can program the speed of the dolly and even set it up to move in sync with your smartphone for time-lapse shots or stop-motion animation. The kit is lightweight and portable and comes in a sturdy carry case.\r\n<p class=\"article-tips tip\">If you have an older smartphone that you put away after you bought the latest and greatest upgrade, it may be time to dust it off. Even though cellular service isn’t activated on your old phone, all its camera functions should be working fine. It’s really an iPod without cellular service. But you still have Wi-Fi!</p>\r\nThis old smartphone can be used as your action backup camera (make sure it’s not a big deal if this extra phone gets damaged or destroyed). Place it in the middle of a quiet neighborhood street and have your actor in a car drive over and past the camera. Just make sure he knows to keep the smartphone between the tires! Secure this “B” action camera on the outside of your car for some dramatic driving shots. You can even find a car suction cup mounting device for your smartphone on Amazon — or, just use lots of masking tape on the phone to secure it. (I recommend tying the phone down securely — just in case. The wind could catch it and send it flying!)\r\n\r\nThrow the phone in the air to a friend to simulate the POV of a ball being tossed back and forth. I recommend doing this on the grass in case one of you misses a catch.\r\n<h2 id=\"tab8\" >Use Several Smartphones to Capture Your Movie</h2>\r\nPretty much everyone on your crew (even if there’s just two of you) has a smartphone, so any one of these could be used as a second or third camera on your shoot. If you have two actors talking, you can save time by having one smartphone on each actor, instead of using one camera to shoot each actor separately. You can also use an extra smartphone for your wide shots, and another for close-ups (just don’t get the phones used for close-ups in the wide shot!)\r\n<p class=\"article-tips tip\">Apple’s iPhone 11 Pro was the catalyst for the creation of a new triple-camera system that allows users to shoot multiple different-size shots at the same time with just one smartphone camera. This iPhone has three different lenses: a telephoto lens, a wide lens, and an ultra-wide lens. Using a revolutionary app developed by Filmic Pro through the App Store, each lens can record its own file — thus creating three different-sized shots at one time. It’s like three cameras rolled into one smartphone. It’s also invaluable for documentaries and spur-of-the-moment events.</p>\r\nAnother ingenious advancement with the Filmic Pro app, is the ability to use the iPhone Pro 11 to shoot an interview in which both the interviewer and the interviewee are filmed at the same time. The app records footage from both the front and back camera at the same time and creates two separate digital files. So, you don’t have to have two separate cameras to shoot your interview! This unique technology is absolutely a game-changer for the independent filmmaker shooting with an iPhone and the Filmic Pro app!\r\n<p class=\"article-tips tip\">For more great tips and a fun book that converts into a smartphone projector with speakers, includes ticket stubs to your premiere, and even has popcorn boxes — check out my book, <em>Smartphone Movie Maker</em> at Amazon and other fine bookstores near you!</p>\r\n\r\n<h2 id=\"tab9\" >Great Sound on Your Smartphone Too!</h2>\r\nNot only can your smartphone shoot great, broadcast-quality digital images, but it also gives you pristine digital sound recording. To get the best of this, plug in a professional directional microphone. You don’t want to use your built-in smartphone microphone because it only picks up good sound close to the phone, or ambient sound from all around your environment. Some wireless sound options can record sound directly into your smartphone without the hassle of tripping over wires. <a href=\"http://www.rode.com/\">Røde</a> makes the Wireless GO, which is perfect as a wireless, compact microphone for your smartphone shoot.\r\n<h2 id=\"tab10\" >Your Smartphone Is an Entire Production Studio</h2>\r\nYour smartphone gives you a camera to shoot your movie, and it can give you great sound. But that’s not all. You pretty much have an entire production studio in your pocket! You can even write your screenplay on your smartphone with the Final Draft app for under $10. Storyboard on your phone with certain storyboard apps like Blocker by AfterNow (an absolutely amazing 3D app) and Storyboard Animator for free. You can create a shot list on your phone with an app called Shotlist – Movie Shoot Planning<em>.</em> You can also download stock footage and sound effects right to your phone. In post-production, edit your entire movie on smartphone apps like the free iPhone version of iMovie or a myriad of Android editing apps. And, when you’ve completed your movie, use your phone to upload it directly to YouTube or Vimeo!","blurb":"","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[{"label":"Shooting in Landscape","target":"#tab1"},{"label":"Take Off with Airplane Mode","target":"#tab2"},{"label":"Steady as She Goes","target":"#tab3"},{"label":"Steady as a Rock","target":"#tab4"},{"label":"Shooting Format and Resolution","target":"#tab5"},{"label":"Saving Your Movie Files","target":"#tab6"},{"label":"Miniature Camera Equipment","target":"#tab7"},{"label":"Use Several Smartphones to Capture Your Movie","target":"#tab8"},{"label":"Great Sound on Your Smartphone Too!","target":"#tab9"},{"label":"Your Smartphone Is an Entire Production Studio","target":"#tab10"}],"relatedArticles":{"fromBook":[{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}},{"articleId":209011,"title":"Filmmaking For Dummies Cheat Sheet","slug":"filmmaking-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/209011"}}],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":282198,"slug":"filmmaking-for-dummies-3rd-edition","isbn":"9781119617853","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119617855-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/filmmaking-for-dummies-3rd-edition-cover-9781119617853-203x255.jpg","width":203,"height":255},"title":"Filmmaking For Dummies","testBankPinActivationLink":"","bookOutOfPrint":true,"authorsInfo":"<p><p><b><b data-author-id=\"10360\">Bryan Michael Stoller</b></b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com.</p>","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab795c24\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab79649d\"></div></div>"},"articleType":{"articleType":"Articles","articleList":null,"content":null,"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Advance","lifeExpectancy":null,"lifeExpectancySetFrom":null,"dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":266979},{"headers":{"creationTime":"2019-12-30T23:07:51+00:00","modifiedTime":"2019-12-30T23:07:51+00:00","timestamp":"2022-09-14T18:17:27+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Secrets to Entering and Winning Film Festivals","strippedTitle":"secrets to entering and winning film festivals","slug":"secrets-to-entering-and-winning-film-festivals","canonicalUrl":"","seo":{"metaDescription":"Check out these tips for entering your film into film festivals, or entry etiquette, and learn how to select the festival(s) for your audience and subject.","noIndex":0,"noFollow":0},"content":"The secret to entering film festivals is what I call <em>entry etiquette.</em> Winning is beyond your control, but following the basic rules I describe here brings you closer to that win.\r\n<p class=\"article-tips remember\">Don’t take it personally if your movie doesn’t make it into a festival. With many festivals receiving thousands of submissions annually, a film can easily be overlooked.</p>\r\n\r\n<h2 id=\"tab1\" ><a name=\"_Toc205621078\"></a><a name=\"_Toc203792078\"></a><a name=\"_Toc35762536\"></a>Sending a work-in-progress — Don’t!</h2>\r\nEven though some festivals accept works-in-progress, you’re just donating your entry fee to the festival when your movie doesn’t get selected because it isn’t finished. I’ve made this mistake before and want to warn you to avoid it. Wait until your movie is completed — including music and sound mix — before you submit it for consideration. Many <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/filmmaking-for-dummies-cheat-sheet/\">filmmakers</a> eager to make the deadline for the big festivals like Sundance and Toronto end up sending a work-in-progress. But the festival selection committee rarely gives an uncompleted film the benefit of the doubt. The unfinished film is viewed alongside completed films and usually loses out. Submitting a work-in-progress wastes your time and money — and the festival’s time as well.\r\n<h2 id=\"tab2\" ><a name=\"_Toc205621079\"></a><a name=\"_Toc203792079\"></a><a name=\"_Toc35762537\"></a>Entering the right festivals for your film</h2>\r\nYour film is in the can, or in the digital realm, and you can’t wait to send it out and start collecting invitations to all the great film festivals. But wait: You have to choose carefully which festival is best to enter. You can start by going to <a href=\"http://www.filmfreeway.com/\">Film Freeway</a> for up-to-the-minute information about film festivals, including entry details and deadlines. Also, going to a film festival’s website enables you to get updated information, including entry rules and regulations. Note that most film festival websites have the extension .org, <em>not</em> .com; many festivals are nonprofit organizations. Film Freeway has become the norm for submitting to virtually any film festival in the world (more on this later in the chapter).\r\n\r\nSo how do you decide which festival is right for your movie? Think about your intended audience. If your movie is a mainstream piece that <em>Star Wars</em> or <em>Avengers </em>audiences would love, it isn’t exactly Sundance Film Festival fare; Sundance often looks for offbeat or controversial films. If your film is about an escaped convict who kidnaps grandmothers, it isn’t going to be accepted at a children’s film festival — unless it’s a comedy, and the heroes are an odd gang of misfits. But don’t enter just one festival — that’s like putting all your eggs in one basket. Instead, choose wisely and be selective, with good insight, how many and which festivals (and categories within) seem appropriate for your film.\r\n\r\nThe following is a list of ten top film festivals, in order of popularity, to consider for your film. The list is a compilation of my favorites, including first-film and independent film-friendly festivals and a family festival dedicated to those rare independent family-produced films.\r\n<ul>\r\n \t<li><strong>The Sundance Film Festival</strong> takes place in Park City, Utah, in January, with an entry deadline in early October. This is the festival of festivals, established by actor Robert Redford and named after one of his favorite classic films, <em>Butch Cassidy and the Sundance Kid.</em> (That’s why he’s often still referred to as the <em>Kid</em>.) Sundance has become one of the toughest festivals to get a film accepted at. The festival is overloaded with submissions, and a film has to have a sophistication that Sundance audiences and judges have become accustomed to. The festival favors independent films. If your film gets accepted for screening, that’s almost as good as winning — being accepted carries a lot of merit. But it’s a tough one, so don’t rely on Sundance to be your film’s festival premiere. For information, go to www.sundance.org/festival.</li>\r\n \t<li><strong>The Toronto International Film Festival</strong> takes place in Toronto, Ontario, Canada, in September, with an entry deadline in April/May. This festival has been around since 1976 and is considered the second most popular among the elite film festivals, after Sundance. Films are judged on artistic values and subject matter, similar to the Sundance Film Festival. Independent films are especially welcomed. Like Sundance, this festival is also difficult to get into and has become a lot more commercial over the years with a lot of major studios and movie stars premiering their new movies. Go to <a href=\"http://www.tiff.net\">tiff.net</a> or phone 416-599-8433.</li>\r\n \t<li><strong>Telluride Film Festival</strong> takes place in August/September in the mountain village of Telluride, Colorado, with an entry deadline in April/July. The festival is for real movie lovers and accepts all types of films as well as experimental, first-film, and artsy styles. A lot of gems have been discovered at Telluride. Go to <a href=\"http://www.telluridefilmfestival.org\">telluridefilmfestival.org</a> or phone 510-665-9494.</li>\r\n \t<li><strong>WorldFest Houston</strong> is in April, with an entry deadline in February. Like many of the other festivals, it accepts digitally finished films transferred to Blu-ray or DCPs for best quality projection. The festival accepts a wide array of styles, from films with wide commercial appeal to experimental short films, and welcomes family-friendly films as well. This is one of the world’s oldest film festivals (since 1961). Even Steven Spielberg won an award in his early career at WorldFest — as did George Lucas, the Coen Brothers, Oliver Stone, and Robert Rodriguez. This is one of my favorite festivals, run by J. Hunter Todd with Kathleen Haney. They truly respect and love the independent filmmaker. It’s also a really fun festival to attend with lots of things to do, including a boating excursion. For information, go to <a href=\"http://www.worldfest.org\">worldfest.org</a> or phone 713-965-9955.</li>\r\n \t<li><strong>Cannes Film Festival</strong> takes place in May in the breathtaking city of Cannes, France, with an entry deadline in March. The Cannes Film Festival is in the elite company of Sundance and Toronto. It carries a different sophistication and is run with the international elegance of a European gala event. The festival accepts higher-profile films, especially with an international flair. Go to <a href=\"http://www.festival-cannes.com\">festival-cannes.com</a> or email <a href=\"mailto:[email protected]\">[email protected]</a>.</li>\r\n \t<li><strong>Sedona International Film Festival</strong> is another one of my favorite festivals, which takes place in the magical and breathtaking elevations of Arizona surrounded by the colossal red rocks of Sedona. (See the following figure.) The festival, which runs for nine days every February, welcomes all kinds of films and filmmakers. Festival director Patrick Schweiss is one of my favorite festival directors. If your film is selected for the festival, Patrick will welcome you with open arms, possibly provide you with free accommodations during your stay, and will be almost as excited about your film being in the festival as you are! The festival accepts all genres, including a special award category for Best Family Film. Check out <a href=\"http://www.sedonafilmfestival.com\">sedonafilmfestival.com</a> or phone 928-282-1177.</li>\r\n</ul>\r\n[caption id=\"attachment_266975\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266975\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-sedona-film-festival.jpg\" alt=\"Sedona film festival screening\" width=\"556\" height=\"415\" /> Actress onscreen, Erica Howard.<br /><br />The Mary D. Fisher Theatre at the Sedona International Film Festival, courtesy Patrick Schweiss, festival director.[/caption]\r\n<ul>\r\n \t<li><strong>Burbank International Film Festival </strong>takes place in September, in Burbank, California (just a few miles from Warner Bros. studios), with an entry deadline in April. The festival accepts most styles of films, especially independent films and films from new and up-and-coming filmmakers. The festival runs for five days and includes seminars with industry professionals and celebrities. Go to <a href=\"http://www.burbankfilmfest.org\">burbankfilmfest.org</a> or phone 818-601-2082.</li>\r\n \t<li><strong>Slamdance Film Festival</strong> takes place in January, with an entry deadline in October. Slamdance was created in 1994 to catch the spillover of films that don’t get accepted into Sundance. It’s very much a festival for independent filmmakers and first-film entrants who find themselves left out in the cold — even though they have a film that an audience would appreciate and enjoy. Go to <a href=\"http://www.slamdance.com\">slamdance.com</a> or phone 323-466-1786.</li>\r\n \t<li><strong>Heartland Film Festival</strong> takes place in October in Indianapolis, and is also known as a very family-friendly festival. So, if your film is family-oriented, this is one of the best festivals to submit to! Go to <a href=\"http://www.heartlandfilm.org/festival\">heartlandfilm.org/festival</a>.</li>\r\n \t<li><strong>Dances with Films</strong> takes place in July, in Los Angeles, California, with an entry deadline in April/May. Also known as the “Festival of the Unknowns,” this festival boasts that it features films with no-name directors, actors, and producers. It was originally established to get away from the politics of other film festivals. It’s very first-film friendly and welcomes independent films with great stories. Go to <a href=\"http://www.danceswithfilms.com\">danceswithfilms.com</a> or phone 323-850-2929.</li>\r\n</ul>\r\n<p class=\"article-tips tip\">The microphone and audio company Røde has their own film festival. The competition, called My Røde Reel, accepts short film entries that used Røde microphones for their production audio. Røde offers over a million dollars in prizes. The requirements state that your film can be up to three minutes long, that you shoot a behind-the-scenes video showing the actual production being shot, that you feature your Røde product or products in your behind-the-scenes footage, and finally, that you upload it to the <a href=\"http://www.rode.com/MyRodeReel\">Røde website</a>.</p>\r\n<p class=\"article-tips remember\">When deciding which festivals to enter, keep in mind deadlines and entry fees are subject to change, so always visit the festival’s website or call ahead. Questions are usually answered quickly via email. You should also find updated info on most festivals on the Film Freeway website as well.</p>\r\n\r\n<h2 id=\"tab3\" ><a name=\"_Toc205621080\"></a><a name=\"_Toc203792080\"></a><a name=\"_Toc35762538\"></a>Choosing the appropriate genre and category</h2>\r\nAfter you’ve selected the right film festival, you have the dilemma of entering in the correct genre and category (explained in detail in Chapter 2). If you choose incorrectly, you could blow your movie’s chances of winning or placing. Some festivals allow you to enter several genres for this reason — very helpful if you can’t decide exactly which genre your movie fits into. Is it a comedy, drama, science-fiction, or fantasy? A combination of several genres? If you don’t know your film’s genre, who does?\r\n\r\nUsually, the judging committee won’t correct your mistake if you enter under the wrong category. It has too many entries to weed through. If you’re undecided, call the festival and ask its opinion. You can also screen your movie for friends and ask what category they feel your film falls into.\r\n\r\nAlong with knowing the genre your movie falls under, you have to choose the correct category, which is usually one of the following:\r\n<ul>\r\n \t<li><strong>Animation:</strong> Utilizing traditional drawings, stop motion (like Gumby and Pokey or <em>Coraline</em>), or digital computer-generated images (like <em>Toy Story</em> or <em>Frozen</em>).</li>\r\n \t<li><strong>Commercial:</strong> A 30-second to 1-minute commercial whose purpose is to sell a product or idea.</li>\r\n \t<li><strong>Documentary:</strong> A behind-the-scenes nonfiction (sometimes controversial) production that makes a statement and features the real side of a person or event.</li>\r\n \t<li><strong>First feature: </strong>Your first attempt at a feature-length film (at least 90 minutes) with a cohesive story.</li>\r\n \t<li><strong>Independent film (low-budget):</strong> A feature-film length production produced with limited funds and independent of a major studio or distributor.</li>\r\n \t<li><strong>Public Service Announcement (PSA):</strong> A 30-second to 1-minute commercial making a statement about health issues, environmental issues, or any subject matter that promotes a better society.</li>\r\n \t<li><strong>Short film:</strong> Usually under 30 minutes. Encapsulates a complete story with developed characters within a shorter running time.</li>\r\n \t<li><strong>TV movie:</strong> Usually slotted within a two-hour time period on a TV network. Produced specifically for the small screen (TV) keeping in mind the TV censors with regard to subject material.</li>\r\n \t<li><strong>TV program:</strong> Usually runs within a one-hour time slot. Can be a variety program (such as <em>America’s Got Talent</em>), a reality show (like <em>Keeping Up with the Kardashians — </em>or is it <em>Putting Up with the Kardashians?</em>), or a one-hour drama show.</li>\r\n</ul>\r\n<p class=\"article-tips tip\">Some festivals accept screenplay submissions as well. So if you have an unproduced screenplay that you’re proud of, submit it to the appropriate festival. I entered my original screenplay <em>Undercover Angel</em> in the Santa Clarita International Film Festival (which became the International Family Film Festival), and it received an award certificate. I then put the award logo on the screenplay to show that it was an award-winning script, which gave the screenplay credibility and raised interest in the project. (The film was produced and released successfully a year later!) A few years later, I submitted my screenplay <em>First Dog</em> to WorldFest in Houston, and it too won a screenplay award — which was a catalyst in getting that film produced as well.</p>\r\n\r\n<h2 id=\"tab4\" ><a name=\"_Toc205621081\"></a><a name=\"_Toc203792081\"></a><a name=\"_Toc35762539\"></a>Writing a great synopsis of your movie</h2>\r\nJust like when you had a carefully prepared pitch to sell your movie idea to an investor or distributor, you need to pitch an intriguing synopsis of your movie that will convince the festival screeners to consider your film for their festival. If you write a boring synopsis, they will anticipate a boring film.\r\n<h2 id=\"tab5\" ><a name=\"_Toc205621082\"></a><a name=\"_Toc203792082\"></a><a name=\"_Toc35762540\"></a>Picture perfect: Selecting the best photos from your film</h2>\r\nPhotos from your movie are an important marketing tool. Film festivals request still photos from your movie to use in their brochures and marketing materials — should your film be accepted. A picture always draws the reader’s attention to an article and helps the reader to understand and remember the material more than with no photograph.\r\n\r\nMake sure that you have photos taken on the set. Submit photos that best represent your movie, such as an interesting confrontation between your actors, or something that causes an emotion in the viewer. If you have any name stars, then make sure they’re in the photos.\r\n<p class=\"article-tips remember\">When you send photos from your film to a film festival, be sure to label each photo with the name of your movie. Identify the scene and the actors in the photo with a caption. If the festival people decide to publish the photo in their publicity ads or festival program, they need to have this information clearly marked. Most festivals accept digital photos through email, or the festival can download the photos from Film Freeway’s entry site if you’re a member and uploaded your publicity photos there.</p>\r\n\r\n<h2 id=\"tab6\" ><a name=\"_Toc205621083\"></a><a name=\"_Toc203792083\"></a><a name=\"_Toc35762541\"></a>Submitting the best format securely</h2>\r\nOnly a few years ago, if you completed your movie on analog or digital videotape (as opposed to cutting on film for release in theaters), you were out of luck when it came to having a festival show your movie. If a festival accepted your movie for screening, you had to provide a 16mm or 35mm film print. Many independent filmmakers were knocked out of the game because their finished projects were on tape or digital files only. You could always transfer your finished video product to motion picture film, but that process was lengthy and expensive and the picture quality would suffer from magnifying grain and imperfections, depending on the quality of the original footage.\r\n\r\nNow that digital filmmaking has come into its own, all film festivals have video projectors that can project virtually any form of video such as digital files, DVD, and Blu-ray. The bigger festivals also have the capacity to project your film if you provide an external hard drive in the form of a DCP (digital cinema package). Independent filmmakers can now receive equal consideration regardless of whether their project is shot and finished on an inexpensive digital DSRL camera or a professional $100,000 digital cinema camera.\r\n<p class=\"article-tips remember\">Blu-ray or a DCP is the favored format when using a video projector. A Blu-ray can be excellent picture quality if it’s authored and burned properly. Burning your projects onto DVDs or Blu-ray with most computers is easy and inexpensive. A popular software application that burns DVDs and Blu-ray discs easily is <a href=\"http://www.roxio.com/\">Toast by Roxio</a>. It also lets you author your disc with customized menus. You can do lots of other things with the Toast software, like convert formats and even encrypt files.</p>\r\n\r\n<h2 id=\"tab7\" >Entering onto the Film Freeway</h2>\r\nThe traditional way of entering a film festival consists of filling out an entry form and mailing it in with your film submission (usually in the form of a DVD screener or, more acceptable, a private online screener) along with your entry fee and supporting materials (still photos, synopsis, and so on). A unique company, Film Freeway, has simplified the film festival submission process for the filmmaker.\r\n<p class=\"article-tips tip\"><a href=\"http://www.filmfreeway.com/\">Film Freeway</a> is a unique service that creates a direct link between the filmmaker and the film-festival circuit by allowing you to submit your film entry online to thousands of film festivals of your choice worldwide and hassle-free. Under their online private screener service, Film Freeway even gives you the option to upload a copy of your movie that can be accessed by the film festivals you choose. You can also provide a Vimeo link, if you have your film on Vimeo. Create a password so only the festival with your private password can view your film. Online film submission is especially invaluable when you’re submitting to more than one festival. Most film festivals accept, and encourage, filmmakers to use Film Freeway. It has become the traditional (and most convenient) way to enter film festivals.</p>\r\nFilm Freeway collects all the necessary information from you online and then inputs it into the entry forms of all the festivals you want to enter. Your information is customized to each festival’s distinct entry form. This saves you from entering the information every time on individual entry forms for each festival you want to enter.\r\n\r\nFilm Freeway enables you to do a vast search on the site to find the most suitable festival for your movie, enter multiple festivals, upload scanned publicity photos from your movie, and track your entry submissions. Using Film Freeway is free; you only pay each festival entry fee and the cost of shipping a DVD screener of your film (if you don’t upload your movie with a private link).\r\n<p class=\"article-tips tip\">Film Freeway is also working on a service to provide filmmakers the ability to make their own DCP (digital cinema package). This is huge! Sign up for a free account at <a href=\"http://www.filmfreeway.com/\">Film Freeway</a>, and they will notify you with updates on their DCP news as well as keep you up to date on film festival dates and schedules.</p>\r\n\r\n<h2 id=\"tab8\" ><a name=\"_Toc205621085\"></a><a name=\"_Toc203792085\"></a><a name=\"_Toc35762543\"></a>Getting an entry-fee discount</h2>\r\nPretty much every film festival in the United States charges an entry or submission fee, which can range from $20 to $200. Then, if you win, some festivals charge you extra to purchase an award statuette or certificate! Some film festivals offer entry discounts to students and independent filmmakers. Calling and asking about available discounts is a good idea. Festivals know that most independent filmmakers are tight on funds, so many will consider a discount on your entry if you ask — especially if you submit early.\r\n<p class=\"article-tips tip\">Many festivals reward you with an entry discount if you submit your movie early. It’s an incentive to filmmakers to not wait until the last minute. The festival judges need lots of time to sort through and review thousands of films submitted each year. The discount is usually mentioned on the entry forms or festival website and through Film Freeway’s site when you’re researching which festivals you’re thinking of entering.</p>","description":"The secret to entering film festivals is what I call <em>entry etiquette.</em> Winning is beyond your control, but following the basic rules I describe here brings you closer to that win.\r\n<p class=\"article-tips remember\">Don’t take it personally if your movie doesn’t make it into a festival. With many festivals receiving thousands of submissions annually, a film can easily be overlooked.</p>\r\n\r\n<h2 id=\"tab1\" ><a name=\"_Toc205621078\"></a><a name=\"_Toc203792078\"></a><a name=\"_Toc35762536\"></a>Sending a work-in-progress — Don’t!</h2>\r\nEven though some festivals accept works-in-progress, you’re just donating your entry fee to the festival when your movie doesn’t get selected because it isn’t finished. I’ve made this mistake before and want to warn you to avoid it. Wait until your movie is completed — including music and sound mix — before you submit it for consideration. Many <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/filmmaking-for-dummies-cheat-sheet/\">filmmakers</a> eager to make the deadline for the big festivals like Sundance and Toronto end up sending a work-in-progress. But the festival selection committee rarely gives an uncompleted film the benefit of the doubt. The unfinished film is viewed alongside completed films and usually loses out. Submitting a work-in-progress wastes your time and money — and the festival’s time as well.\r\n<h2 id=\"tab2\" ><a name=\"_Toc205621079\"></a><a name=\"_Toc203792079\"></a><a name=\"_Toc35762537\"></a>Entering the right festivals for your film</h2>\r\nYour film is in the can, or in the digital realm, and you can’t wait to send it out and start collecting invitations to all the great film festivals. But wait: You have to choose carefully which festival is best to enter. You can start by going to <a href=\"http://www.filmfreeway.com/\">Film Freeway</a> for up-to-the-minute information about film festivals, including entry details and deadlines. Also, going to a film festival’s website enables you to get updated information, including entry rules and regulations. Note that most film festival websites have the extension .org, <em>not</em> .com; many festivals are nonprofit organizations. Film Freeway has become the norm for submitting to virtually any film festival in the world (more on this later in the chapter).\r\n\r\nSo how do you decide which festival is right for your movie? Think about your intended audience. If your movie is a mainstream piece that <em>Star Wars</em> or <em>Avengers </em>audiences would love, it isn’t exactly Sundance Film Festival fare; Sundance often looks for offbeat or controversial films. If your film is about an escaped convict who kidnaps grandmothers, it isn’t going to be accepted at a children’s film festival — unless it’s a comedy, and the heroes are an odd gang of misfits. But don’t enter just one festival — that’s like putting all your eggs in one basket. Instead, choose wisely and be selective, with good insight, how many and which festivals (and categories within) seem appropriate for your film.\r\n\r\nThe following is a list of ten top film festivals, in order of popularity, to consider for your film. The list is a compilation of my favorites, including first-film and independent film-friendly festivals and a family festival dedicated to those rare independent family-produced films.\r\n<ul>\r\n \t<li><strong>The Sundance Film Festival</strong> takes place in Park City, Utah, in January, with an entry deadline in early October. This is the festival of festivals, established by actor Robert Redford and named after one of his favorite classic films, <em>Butch Cassidy and the Sundance Kid.</em> (That’s why he’s often still referred to as the <em>Kid</em>.) Sundance has become one of the toughest festivals to get a film accepted at. The festival is overloaded with submissions, and a film has to have a sophistication that Sundance audiences and judges have become accustomed to. The festival favors independent films. If your film gets accepted for screening, that’s almost as good as winning — being accepted carries a lot of merit. But it’s a tough one, so don’t rely on Sundance to be your film’s festival premiere. For information, go to www.sundance.org/festival.</li>\r\n \t<li><strong>The Toronto International Film Festival</strong> takes place in Toronto, Ontario, Canada, in September, with an entry deadline in April/May. This festival has been around since 1976 and is considered the second most popular among the elite film festivals, after Sundance. Films are judged on artistic values and subject matter, similar to the Sundance Film Festival. Independent films are especially welcomed. Like Sundance, this festival is also difficult to get into and has become a lot more commercial over the years with a lot of major studios and movie stars premiering their new movies. Go to <a href=\"http://www.tiff.net\">tiff.net</a> or phone 416-599-8433.</li>\r\n \t<li><strong>Telluride Film Festival</strong> takes place in August/September in the mountain village of Telluride, Colorado, with an entry deadline in April/July. The festival is for real movie lovers and accepts all types of films as well as experimental, first-film, and artsy styles. A lot of gems have been discovered at Telluride. Go to <a href=\"http://www.telluridefilmfestival.org\">telluridefilmfestival.org</a> or phone 510-665-9494.</li>\r\n \t<li><strong>WorldFest Houston</strong> is in April, with an entry deadline in February. Like many of the other festivals, it accepts digitally finished films transferred to Blu-ray or DCPs for best quality projection. The festival accepts a wide array of styles, from films with wide commercial appeal to experimental short films, and welcomes family-friendly films as well. This is one of the world’s oldest film festivals (since 1961). Even Steven Spielberg won an award in his early career at WorldFest — as did George Lucas, the Coen Brothers, Oliver Stone, and Robert Rodriguez. This is one of my favorite festivals, run by J. Hunter Todd with Kathleen Haney. They truly respect and love the independent filmmaker. It’s also a really fun festival to attend with lots of things to do, including a boating excursion. For information, go to <a href=\"http://www.worldfest.org\">worldfest.org</a> or phone 713-965-9955.</li>\r\n \t<li><strong>Cannes Film Festival</strong> takes place in May in the breathtaking city of Cannes, France, with an entry deadline in March. The Cannes Film Festival is in the elite company of Sundance and Toronto. It carries a different sophistication and is run with the international elegance of a European gala event. The festival accepts higher-profile films, especially with an international flair. Go to <a href=\"http://www.festival-cannes.com\">festival-cannes.com</a> or email <a href=\"mailto:[email protected]\">[email protected]</a>.</li>\r\n \t<li><strong>Sedona International Film Festival</strong> is another one of my favorite festivals, which takes place in the magical and breathtaking elevations of Arizona surrounded by the colossal red rocks of Sedona. (See the following figure.) The festival, which runs for nine days every February, welcomes all kinds of films and filmmakers. Festival director Patrick Schweiss is one of my favorite festival directors. If your film is selected for the festival, Patrick will welcome you with open arms, possibly provide you with free accommodations during your stay, and will be almost as excited about your film being in the festival as you are! The festival accepts all genres, including a special award category for Best Family Film. Check out <a href=\"http://www.sedonafilmfestival.com\">sedonafilmfestival.com</a> or phone 928-282-1177.</li>\r\n</ul>\r\n[caption id=\"attachment_266975\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266975\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-sedona-film-festival.jpg\" alt=\"Sedona film festival screening\" width=\"556\" height=\"415\" /> Actress onscreen, Erica Howard.<br /><br />The Mary D. Fisher Theatre at the Sedona International Film Festival, courtesy Patrick Schweiss, festival director.[/caption]\r\n<ul>\r\n \t<li><strong>Burbank International Film Festival </strong>takes place in September, in Burbank, California (just a few miles from Warner Bros. studios), with an entry deadline in April. The festival accepts most styles of films, especially independent films and films from new and up-and-coming filmmakers. The festival runs for five days and includes seminars with industry professionals and celebrities. Go to <a href=\"http://www.burbankfilmfest.org\">burbankfilmfest.org</a> or phone 818-601-2082.</li>\r\n \t<li><strong>Slamdance Film Festival</strong> takes place in January, with an entry deadline in October. Slamdance was created in 1994 to catch the spillover of films that don’t get accepted into Sundance. It’s very much a festival for independent filmmakers and first-film entrants who find themselves left out in the cold — even though they have a film that an audience would appreciate and enjoy. Go to <a href=\"http://www.slamdance.com\">slamdance.com</a> or phone 323-466-1786.</li>\r\n \t<li><strong>Heartland Film Festival</strong> takes place in October in Indianapolis, and is also known as a very family-friendly festival. So, if your film is family-oriented, this is one of the best festivals to submit to! Go to <a href=\"http://www.heartlandfilm.org/festival\">heartlandfilm.org/festival</a>.</li>\r\n \t<li><strong>Dances with Films</strong> takes place in July, in Los Angeles, California, with an entry deadline in April/May. Also known as the “Festival of the Unknowns,” this festival boasts that it features films with no-name directors, actors, and producers. It was originally established to get away from the politics of other film festivals. It’s very first-film friendly and welcomes independent films with great stories. Go to <a href=\"http://www.danceswithfilms.com\">danceswithfilms.com</a> or phone 323-850-2929.</li>\r\n</ul>\r\n<p class=\"article-tips tip\">The microphone and audio company Røde has their own film festival. The competition, called My Røde Reel, accepts short film entries that used Røde microphones for their production audio. Røde offers over a million dollars in prizes. The requirements state that your film can be up to three minutes long, that you shoot a behind-the-scenes video showing the actual production being shot, that you feature your Røde product or products in your behind-the-scenes footage, and finally, that you upload it to the <a href=\"http://www.rode.com/MyRodeReel\">Røde website</a>.</p>\r\n<p class=\"article-tips remember\">When deciding which festivals to enter, keep in mind deadlines and entry fees are subject to change, so always visit the festival’s website or call ahead. Questions are usually answered quickly via email. You should also find updated info on most festivals on the Film Freeway website as well.</p>\r\n\r\n<h2 id=\"tab3\" ><a name=\"_Toc205621080\"></a><a name=\"_Toc203792080\"></a><a name=\"_Toc35762538\"></a>Choosing the appropriate genre and category</h2>\r\nAfter you’ve selected the right film festival, you have the dilemma of entering in the correct genre and category (explained in detail in Chapter 2). If you choose incorrectly, you could blow your movie’s chances of winning or placing. Some festivals allow you to enter several genres for this reason — very helpful if you can’t decide exactly which genre your movie fits into. Is it a comedy, drama, science-fiction, or fantasy? A combination of several genres? If you don’t know your film’s genre, who does?\r\n\r\nUsually, the judging committee won’t correct your mistake if you enter under the wrong category. It has too many entries to weed through. If you’re undecided, call the festival and ask its opinion. You can also screen your movie for friends and ask what category they feel your film falls into.\r\n\r\nAlong with knowing the genre your movie falls under, you have to choose the correct category, which is usually one of the following:\r\n<ul>\r\n \t<li><strong>Animation:</strong> Utilizing traditional drawings, stop motion (like Gumby and Pokey or <em>Coraline</em>), or digital computer-generated images (like <em>Toy Story</em> or <em>Frozen</em>).</li>\r\n \t<li><strong>Commercial:</strong> A 30-second to 1-minute commercial whose purpose is to sell a product or idea.</li>\r\n \t<li><strong>Documentary:</strong> A behind-the-scenes nonfiction (sometimes controversial) production that makes a statement and features the real side of a person or event.</li>\r\n \t<li><strong>First feature: </strong>Your first attempt at a feature-length film (at least 90 minutes) with a cohesive story.</li>\r\n \t<li><strong>Independent film (low-budget):</strong> A feature-film length production produced with limited funds and independent of a major studio or distributor.</li>\r\n \t<li><strong>Public Service Announcement (PSA):</strong> A 30-second to 1-minute commercial making a statement about health issues, environmental issues, or any subject matter that promotes a better society.</li>\r\n \t<li><strong>Short film:</strong> Usually under 30 minutes. Encapsulates a complete story with developed characters within a shorter running time.</li>\r\n \t<li><strong>TV movie:</strong> Usually slotted within a two-hour time period on a TV network. Produced specifically for the small screen (TV) keeping in mind the TV censors with regard to subject material.</li>\r\n \t<li><strong>TV program:</strong> Usually runs within a one-hour time slot. Can be a variety program (such as <em>America’s Got Talent</em>), a reality show (like <em>Keeping Up with the Kardashians — </em>or is it <em>Putting Up with the Kardashians?</em>), or a one-hour drama show.</li>\r\n</ul>\r\n<p class=\"article-tips tip\">Some festivals accept screenplay submissions as well. So if you have an unproduced screenplay that you’re proud of, submit it to the appropriate festival. I entered my original screenplay <em>Undercover Angel</em> in the Santa Clarita International Film Festival (which became the International Family Film Festival), and it received an award certificate. I then put the award logo on the screenplay to show that it was an award-winning script, which gave the screenplay credibility and raised interest in the project. (The film was produced and released successfully a year later!) A few years later, I submitted my screenplay <em>First Dog</em> to WorldFest in Houston, and it too won a screenplay award — which was a catalyst in getting that film produced as well.</p>\r\n\r\n<h2 id=\"tab4\" ><a name=\"_Toc205621081\"></a><a name=\"_Toc203792081\"></a><a name=\"_Toc35762539\"></a>Writing a great synopsis of your movie</h2>\r\nJust like when you had a carefully prepared pitch to sell your movie idea to an investor or distributor, you need to pitch an intriguing synopsis of your movie that will convince the festival screeners to consider your film for their festival. If you write a boring synopsis, they will anticipate a boring film.\r\n<h2 id=\"tab5\" ><a name=\"_Toc205621082\"></a><a name=\"_Toc203792082\"></a><a name=\"_Toc35762540\"></a>Picture perfect: Selecting the best photos from your film</h2>\r\nPhotos from your movie are an important marketing tool. Film festivals request still photos from your movie to use in their brochures and marketing materials — should your film be accepted. A picture always draws the reader’s attention to an article and helps the reader to understand and remember the material more than with no photograph.\r\n\r\nMake sure that you have photos taken on the set. Submit photos that best represent your movie, such as an interesting confrontation between your actors, or something that causes an emotion in the viewer. If you have any name stars, then make sure they’re in the photos.\r\n<p class=\"article-tips remember\">When you send photos from your film to a film festival, be sure to label each photo with the name of your movie. Identify the scene and the actors in the photo with a caption. If the festival people decide to publish the photo in their publicity ads or festival program, they need to have this information clearly marked. Most festivals accept digital photos through email, or the festival can download the photos from Film Freeway’s entry site if you’re a member and uploaded your publicity photos there.</p>\r\n\r\n<h2 id=\"tab6\" ><a name=\"_Toc205621083\"></a><a name=\"_Toc203792083\"></a><a name=\"_Toc35762541\"></a>Submitting the best format securely</h2>\r\nOnly a few years ago, if you completed your movie on analog or digital videotape (as opposed to cutting on film for release in theaters), you were out of luck when it came to having a festival show your movie. If a festival accepted your movie for screening, you had to provide a 16mm or 35mm film print. Many independent filmmakers were knocked out of the game because their finished projects were on tape or digital files only. You could always transfer your finished video product to motion picture film, but that process was lengthy and expensive and the picture quality would suffer from magnifying grain and imperfections, depending on the quality of the original footage.\r\n\r\nNow that digital filmmaking has come into its own, all film festivals have video projectors that can project virtually any form of video such as digital files, DVD, and Blu-ray. The bigger festivals also have the capacity to project your film if you provide an external hard drive in the form of a DCP (digital cinema package). Independent filmmakers can now receive equal consideration regardless of whether their project is shot and finished on an inexpensive digital DSRL camera or a professional $100,000 digital cinema camera.\r\n<p class=\"article-tips remember\">Blu-ray or a DCP is the favored format when using a video projector. A Blu-ray can be excellent picture quality if it’s authored and burned properly. Burning your projects onto DVDs or Blu-ray with most computers is easy and inexpensive. A popular software application that burns DVDs and Blu-ray discs easily is <a href=\"http://www.roxio.com/\">Toast by Roxio</a>. It also lets you author your disc with customized menus. You can do lots of other things with the Toast software, like convert formats and even encrypt files.</p>\r\n\r\n<h2 id=\"tab7\" >Entering onto the Film Freeway</h2>\r\nThe traditional way of entering a film festival consists of filling out an entry form and mailing it in with your film submission (usually in the form of a DVD screener or, more acceptable, a private online screener) along with your entry fee and supporting materials (still photos, synopsis, and so on). A unique company, Film Freeway, has simplified the film festival submission process for the filmmaker.\r\n<p class=\"article-tips tip\"><a href=\"http://www.filmfreeway.com/\">Film Freeway</a> is a unique service that creates a direct link between the filmmaker and the film-festival circuit by allowing you to submit your film entry online to thousands of film festivals of your choice worldwide and hassle-free. Under their online private screener service, Film Freeway even gives you the option to upload a copy of your movie that can be accessed by the film festivals you choose. You can also provide a Vimeo link, if you have your film on Vimeo. Create a password so only the festival with your private password can view your film. Online film submission is especially invaluable when you’re submitting to more than one festival. Most film festivals accept, and encourage, filmmakers to use Film Freeway. It has become the traditional (and most convenient) way to enter film festivals.</p>\r\nFilm Freeway collects all the necessary information from you online and then inputs it into the entry forms of all the festivals you want to enter. Your information is customized to each festival’s distinct entry form. This saves you from entering the information every time on individual entry forms for each festival you want to enter.\r\n\r\nFilm Freeway enables you to do a vast search on the site to find the most suitable festival for your movie, enter multiple festivals, upload scanned publicity photos from your movie, and track your entry submissions. Using Film Freeway is free; you only pay each festival entry fee and the cost of shipping a DVD screener of your film (if you don’t upload your movie with a private link).\r\n<p class=\"article-tips tip\">Film Freeway is also working on a service to provide filmmakers the ability to make their own DCP (digital cinema package). This is huge! Sign up for a free account at <a href=\"http://www.filmfreeway.com/\">Film Freeway</a>, and they will notify you with updates on their DCP news as well as keep you up to date on film festival dates and schedules.</p>\r\n\r\n<h2 id=\"tab8\" ><a name=\"_Toc205621085\"></a><a name=\"_Toc203792085\"></a><a name=\"_Toc35762543\"></a>Getting an entry-fee discount</h2>\r\nPretty much every film festival in the United States charges an entry or submission fee, which can range from $20 to $200. Then, if you win, some festivals charge you extra to purchase an award statuette or certificate! Some film festivals offer entry discounts to students and independent filmmakers. Calling and asking about available discounts is a good idea. Festivals know that most independent filmmakers are tight on funds, so many will consider a discount on your entry if you ask — especially if you submit early.\r\n<p class=\"article-tips tip\">Many festivals reward you with an entry discount if you submit your movie early. It’s an incentive to filmmakers to not wait until the last minute. The festival judges need lots of time to sort through and review thousands of films submitted each year. The discount is usually mentioned on the entry forms or festival website and through Film Freeway’s site when you’re researching which festivals you’re thinking of entering.</p>","blurb":"","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[{"label":"Sending a work-in-progress — Don’t!","target":"#tab1"},{"label":"Entering the right festivals for your film","target":"#tab2"},{"label":"Choosing the appropriate genre and category","target":"#tab3"},{"label":"Writing a great synopsis of your movie","target":"#tab4"},{"label":"Picture perfect: Selecting the best photos from your film","target":"#tab5"},{"label":"Submitting the best format securely","target":"#tab6"},{"label":"Entering onto the Film Freeway","target":"#tab7"},{"label":"Getting an entry-fee discount","target":"#tab8"}],"relatedArticles":{"fromBook":[{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}},{"articleId":209011,"title":"Filmmaking For Dummies Cheat Sheet","slug":"filmmaking-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/209011"}}],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":282198,"slug":"filmmaking-for-dummies-3rd-edition","isbn":"9781119617853","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119617855-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/filmmaking-for-dummies-3rd-edition-cover-9781119617853-203x255.jpg","width":203,"height":255},"title":"Filmmaking For Dummies","testBankPinActivationLink":"","bookOutOfPrint":true,"authorsInfo":"<p><p><b><b data-author-id=\"10360\">Bryan Michael Stoller</b></b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com.</p>","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab78e418\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab78ecab\"></div></div>"},"articleType":{"articleType":"Articles","articleList":null,"content":null,"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Advance","lifeExpectancy":null,"lifeExpectancySetFrom":null,"dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":266974},{"headers":{"creationTime":"2019-12-30T22:58:48+00:00","modifiedTime":"2019-12-30T22:58:48+00:00","timestamp":"2022-09-14T18:17:27+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Filmmaking and Makeup Special Effects","strippedTitle":"filmmaking and makeup special effects","slug":"filmmaking-and-makeup-special-effects","canonicalUrl":"","seo":{"metaDescription":"Learn about some of the common special makeup effects you can create for your film by adding prosthetics, scleral lenses, or hairpieces to the actors.","noIndex":0,"noFollow":0},"content":"Special effects aren’t just limited to illusions that look real only through the camera lens or after the <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/filmmaking-for-dummies-cheat-sheet/\">postproduction stage of your film</a>. Makeup is make-believe that can walk and talk without the magic of the camera but through the magic of talented makeup artists. Many people think of beauty makeovers when they think of makeup artists. You don’t normally think of monsters, alien creatures, and flesh wounds — but the world of the makeup artist is a broad one.\r\n<h2 id=\"tab1\" ><a name=\"_Toc205619763\"></a><a name=\"_Toc203704813\"></a>Applying prosthetics</h2>\r\n<em>Prosthetics</em> is a term associated with artificial limbs. In the world of special effects makeup, however, <em>prostheses</em> are used to create additional limbs, burn victims, and monster effects (often all the sick, gross stuff). Prosthetic pieces, also called <em>appliances,</em> are usually made of foam latex, which can move much like human skin and muscles. Makeup effects artist David Miller designed the conehead makeup for Dan Aykroyd and the entire Conehead population in the film <em>Coneheads.</em> He also designed Freddy Krueger’s makeup for the <em>Nightmare on Elm Street</em> films. (Miller was working late one night trying to decide on the look of Freddy Krueger and glanced down at his melted cheese pizza — inspiration hit!) By gluing latex prosthetics in sections over his face and head Christian Bale was completely unrecognizable as Vice President Dick Cheney in the film <em>Vice</em>.\r\n\r\nYou can also do mechanical makeup effects, like a head-cast made from an actor with features added to a fake head. I made a cameo appearance as a werewolf in one of my short films several years ago. My sister Marlene, a professional makeup artist, and makeup artist Jack Bricker took a cast of my head by pouring plaster over my face, leaving straws in my nostrils so I could breathe (that was the only time in my life that I’ve ever been plastered). When the plaster dried, they used the mold to design the werewolf head in latex and added hair and an extended muzzle to the <em>dummy</em> <em>head</em>. To save time and money, they only made a half-head because the final shot was a profile, and the camera would never see the other side.\r\n\r\n[caption id=\"attachment_266970\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266970\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-prosthetics.jpg\" alt=\"werewolf prosthetics\" width=\"556\" height=\"322\" /> Front and profile shots of a foam werewolf head.[/caption]\r\n<h2 id=\"tab2\" ><a name=\"_Toc205619764\"></a><a name=\"_Toc203704814\"></a>Here’s looking at scleral lenses</h2>\r\nRemember Michael Jackson in <em>Thriller </em>with the devilish eyes<em>?</em> Jim Carrey’s strange eyes in <em>The</em> <em>Mask</em>, and<em> The Grinch?</em> What about the White Walkers with the ice-blue eyes in <em>Game of Thrones?</em> The apes with the black eyes in Stanley Kubrick’s<em> 2001: A Space Odyssey?</em> The actors all had to wear special contact lenses. These special lenses are called <em>scleral lenses,</em> which have funky pupil designs and are fitted to cover the actor’s eyes like conventional contact lenses.\r\n\r\nLinda Blair wore scleral contact lenses for <em>The Exorcist</em> and then again when I revisited her possessed state in my comedy spoof<em> The Linda Blair Witch Project</em> (see the following figure), where she finds out she’s possessed by famous comedians (did you know that possession is nine-tenths of the law?). You can stream my short on <a href=\"http://www.youtube.com/watch?v=ftqEhTpZtQs\">YouTube</a>.\r\n\r\n[caption id=\"attachment_266969\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266969\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-scleral-lenses.jpg\" alt=\"An example of scleral lenses and vampire teeth.\" width=\"556\" height=\"333\" /> Linda Blair (left), Makeup artist, Marlene Stoller (right)<br /><br />An example of scleral lenses and vampire teeth.[/caption]\r\n<p class=\"article-tips warning\">Be sure to purchase scleral lenses from an optometrist or from <a href=\"http://www.provisioncare.com/\">eyewear specialists</a> like Dr. Morton Greenspoon and Dr. Richard Silver, who have designed and provided special scleral lenses for many Hollywood blockbusters (including <em>The Grinch</em> and <em>Men in Black</em>). Although specialty stores, especially during Halloween, carry designer effects lenses, you don’t know if they’re made by a reputable company, and the lenses aren’t fitted to your particular eye shape. Not only could they cause discomfort or infection, but worse, damage to your cornea. Always consult an ophthalmologist before putting anything in your eyes!</p>\r\n\r\n<h2 id=\"tab3\" ><a name=\"_Toc205619765\"></a><a name=\"_Toc203704815\"></a>Take a bite out of this</h2>\r\nAnother skill of the special-effect makeup artist is designing and creating teeth that fit over the actor’s own bite. A mold is taken of the actor’s real teeth — very similar to how a dentist takes a mold impression to fit you for a crown or veneers. The artist then sculpts a new set of molars — from ghoulish monster or vampire teeth to rotten buck teeth like Austin Powers. Refer to the preceding figure for an example of vampire teeth that fit over the actor’s own incisors.\r\n<h2 id=\"tab4\" >Pulling out your hair with lace hairpieces</h2>\r\nLace hairpieces, including beards and mustaches, are used on almost every movie, and quite often on the main actors. Sean Connery wore a lace hairpiece throughout all his James Bond movies. You’ve often seen actors that you know are bald in real life sprouting a beautiful head of hair for their latest starring role. Even actors with hair have been known to wear lace pieces when they are becoming a different person on screen, as, for example, Tom Hanks playing Fred Rogers in <em>A Beautiful Day in the Neighborhood</em>. Lace hairpieces are created by a specialty makeup and or hair artist. Ron Wolek designed and meticulously punched one hair at a time into a piece of lace netting for Ed Asner’s Santa Claus beard in my film <em>Santa Stole Our Dog</em>. Real hair or yak hair is often used. The weaved hair tied into the netting is then cut and shaped like a real haircut, or trimmed into a beard or mustache (often on a mannequin head so the actor doesn’t have to sit there for a long period of time).\r\n\r\n[caption id=\"attachment_266968\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266968\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-hairpieces.jpg\" alt=\"Santa hairpieces\" width=\"556\" height=\"395\" /> Santa beard and mustache lace piece designed and created by Ron Wolek.[/caption]","description":"Special effects aren’t just limited to illusions that look real only through the camera lens or after the <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/filmmaking-for-dummies-cheat-sheet/\">postproduction stage of your film</a>. Makeup is make-believe that can walk and talk without the magic of the camera but through the magic of talented makeup artists. Many people think of beauty makeovers when they think of makeup artists. You don’t normally think of monsters, alien creatures, and flesh wounds — but the world of the makeup artist is a broad one.\r\n<h2 id=\"tab1\" ><a name=\"_Toc205619763\"></a><a name=\"_Toc203704813\"></a>Applying prosthetics</h2>\r\n<em>Prosthetics</em> is a term associated with artificial limbs. In the world of special effects makeup, however, <em>prostheses</em> are used to create additional limbs, burn victims, and monster effects (often all the sick, gross stuff). Prosthetic pieces, also called <em>appliances,</em> are usually made of foam latex, which can move much like human skin and muscles. Makeup effects artist David Miller designed the conehead makeup for Dan Aykroyd and the entire Conehead population in the film <em>Coneheads.</em> He also designed Freddy Krueger’s makeup for the <em>Nightmare on Elm Street</em> films. (Miller was working late one night trying to decide on the look of Freddy Krueger and glanced down at his melted cheese pizza — inspiration hit!) By gluing latex prosthetics in sections over his face and head Christian Bale was completely unrecognizable as Vice President Dick Cheney in the film <em>Vice</em>.\r\n\r\nYou can also do mechanical makeup effects, like a head-cast made from an actor with features added to a fake head. I made a cameo appearance as a werewolf in one of my short films several years ago. My sister Marlene, a professional makeup artist, and makeup artist Jack Bricker took a cast of my head by pouring plaster over my face, leaving straws in my nostrils so I could breathe (that was the only time in my life that I’ve ever been plastered). When the plaster dried, they used the mold to design the werewolf head in latex and added hair and an extended muzzle to the <em>dummy</em> <em>head</em>. To save time and money, they only made a half-head because the final shot was a profile, and the camera would never see the other side.\r\n\r\n[caption id=\"attachment_266970\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266970\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-prosthetics.jpg\" alt=\"werewolf prosthetics\" width=\"556\" height=\"322\" /> Front and profile shots of a foam werewolf head.[/caption]\r\n<h2 id=\"tab2\" ><a name=\"_Toc205619764\"></a><a name=\"_Toc203704814\"></a>Here’s looking at scleral lenses</h2>\r\nRemember Michael Jackson in <em>Thriller </em>with the devilish eyes<em>?</em> Jim Carrey’s strange eyes in <em>The</em> <em>Mask</em>, and<em> The Grinch?</em> What about the White Walkers with the ice-blue eyes in <em>Game of Thrones?</em> The apes with the black eyes in Stanley Kubrick’s<em> 2001: A Space Odyssey?</em> The actors all had to wear special contact lenses. These special lenses are called <em>scleral lenses,</em> which have funky pupil designs and are fitted to cover the actor’s eyes like conventional contact lenses.\r\n\r\nLinda Blair wore scleral contact lenses for <em>The Exorcist</em> and then again when I revisited her possessed state in my comedy spoof<em> The Linda Blair Witch Project</em> (see the following figure), where she finds out she’s possessed by famous comedians (did you know that possession is nine-tenths of the law?). You can stream my short on <a href=\"http://www.youtube.com/watch?v=ftqEhTpZtQs\">YouTube</a>.\r\n\r\n[caption id=\"attachment_266969\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266969\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-scleral-lenses.jpg\" alt=\"An example of scleral lenses and vampire teeth.\" width=\"556\" height=\"333\" /> Linda Blair (left), Makeup artist, Marlene Stoller (right)<br /><br />An example of scleral lenses and vampire teeth.[/caption]\r\n<p class=\"article-tips warning\">Be sure to purchase scleral lenses from an optometrist or from <a href=\"http://www.provisioncare.com/\">eyewear specialists</a> like Dr. Morton Greenspoon and Dr. Richard Silver, who have designed and provided special scleral lenses for many Hollywood blockbusters (including <em>The Grinch</em> and <em>Men in Black</em>). Although specialty stores, especially during Halloween, carry designer effects lenses, you don’t know if they’re made by a reputable company, and the lenses aren’t fitted to your particular eye shape. Not only could they cause discomfort or infection, but worse, damage to your cornea. Always consult an ophthalmologist before putting anything in your eyes!</p>\r\n\r\n<h2 id=\"tab3\" ><a name=\"_Toc205619765\"></a><a name=\"_Toc203704815\"></a>Take a bite out of this</h2>\r\nAnother skill of the special-effect makeup artist is designing and creating teeth that fit over the actor’s own bite. A mold is taken of the actor’s real teeth — very similar to how a dentist takes a mold impression to fit you for a crown or veneers. The artist then sculpts a new set of molars — from ghoulish monster or vampire teeth to rotten buck teeth like Austin Powers. Refer to the preceding figure for an example of vampire teeth that fit over the actor’s own incisors.\r\n<h2 id=\"tab4\" >Pulling out your hair with lace hairpieces</h2>\r\nLace hairpieces, including beards and mustaches, are used on almost every movie, and quite often on the main actors. Sean Connery wore a lace hairpiece throughout all his James Bond movies. You’ve often seen actors that you know are bald in real life sprouting a beautiful head of hair for their latest starring role. Even actors with hair have been known to wear lace pieces when they are becoming a different person on screen, as, for example, Tom Hanks playing Fred Rogers in <em>A Beautiful Day in the Neighborhood</em>. Lace hairpieces are created by a specialty makeup and or hair artist. Ron Wolek designed and meticulously punched one hair at a time into a piece of lace netting for Ed Asner’s Santa Claus beard in my film <em>Santa Stole Our Dog</em>. Real hair or yak hair is often used. The weaved hair tied into the netting is then cut and shaped like a real haircut, or trimmed into a beard or mustache (often on a mannequin head so the actor doesn’t have to sit there for a long period of time).\r\n\r\n[caption id=\"attachment_266968\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266968\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-hairpieces.jpg\" alt=\"Santa hairpieces\" width=\"556\" height=\"395\" /> Santa beard and mustache lace piece designed and created by Ron Wolek.[/caption]","blurb":"","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[{"label":"Applying prosthetics","target":"#tab1"},{"label":"Here’s looking at scleral lenses","target":"#tab2"},{"label":"Take a bite out of this","target":"#tab3"},{"label":"Pulling out your hair with lace hairpieces","target":"#tab4"}],"relatedArticles":{"fromBook":[{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}},{"articleId":209011,"title":"Filmmaking For Dummies Cheat Sheet","slug":"filmmaking-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/209011"}}],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":282198,"slug":"filmmaking-for-dummies-3rd-edition","isbn":"9781119617853","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119617855-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/filmmaking-for-dummies-3rd-edition-cover-9781119617853-203x255.jpg","width":203,"height":255},"title":"Filmmaking For Dummies","testBankPinActivationLink":"","bookOutOfPrint":true,"authorsInfo":"<p><p><b><b data-author-id=\"10360\">Bryan Michael Stoller</b></b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com.</p>","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab786a73\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab7872da\"></div></div>"},"articleType":{"articleType":"Articles","articleList":null,"content":null,"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Advance","lifeExpectancy":null,"lifeExpectancySetFrom":null,"dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":266967},{"headers":{"creationTime":"2019-12-30T22:52:19+00:00","modifiedTime":"2019-12-30T22:52:19+00:00","timestamp":"2022-09-14T18:17:27+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Editing Your Movie: Putting One Frame in Front of the Other","strippedTitle":"editing your movie: putting one frame in front of the other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","canonicalUrl":"","seo":{"metaDescription":"Learn about some of the details involved in editing a film and what a director's cut is. Explore whether or not you want to edit your film yourself.","noIndex":0,"noFollow":0},"content":"Editing is more than just piecing together shots into scenes. Understanding the story and the best way to tell it is an art. <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/film-editing-on-your-computer/\">Editing</a> controls the feel of your film and can make or break the illusion. To edit well, you need to know on what frame to start your shot and on what frame to end it, when to cut to the <em>reaction shot</em> (a visual response from another actor in the scene), and when to stay on the main character.\r\n\r\nSome of the elements you need to consider when editing are\r\n<ul>\r\n \t<li><strong>Pacing: </strong>The length of shots and scenes gives the entire film a pace — a feeling of moving fast or slow. You don’t want your film to lag.</li>\r\n \t<li><strong>Scene length:</strong> Keep scenes under three minutes if possible, so they don’t drag on and seem monotonous.</li>\r\n \t<li><strong>Order of shots and scenes:</strong> By arranging your shots in a particular sequence, you can dramatically affect a scene’s meaning. See the later section “Linear versus Nonlinear Editing” for details.</li>\r\n \t<li><strong>Cutting on action: </strong>Most shots cut (or edit) better on action. If your actor is opening a car door, have him or her repeat the action while you shoot it from different angles or shot sizes (such as a close-up or a wide shot). You then can overlap the shots as you cut on the motion. This is also called <em>matching,</em> and it helps hide the cut, making the transition appear seamless.</li>\r\n \t<li><strong>Matching shots: </strong>You want to join static shots with static shots, and moving shots next to other moving shots. If you have a fast-paced car-chase scene and the camera is moving wildly to follow the action, a sudden static shot of a car sitting quietly at a stop light will be jarring. (Of course, that may be the effect you want.)</li>\r\n \t<li><strong>Varying the angle and size of shots: </strong>A <em>jump-cut</em> happens when shots that are too similar in appearance are cut together, making the picture look as if it has jumped, or that the actor has popped from one spot to another. In order to avoid a jump-cut, you need to vary the angle and size of the next shot. One way to avoid a jump-cut is to shoot a cutaway of an actor’s reaction or of a significant object on-set that you can use to tie two different shots together. An appropriate cutaway can often save the day.</li>\r\n \t<li><strong>Showing simultaneous action:</strong> You can cut back and forth between scenes happening at the same time. This is called <em>cross-cutting. </em>Or you can make a <em>parallel cut, </em>which is showing the simultaneous action with a split screen. This was often done on the TV show <em>24</em>.</li>\r\n \t<li><strong>Choosing the best take (or combining the best of several takes): </strong>You shoot several takes of a particular scene so that you have a choice in the editing room. Obviously, the more takes you have, the more choices. You can also combine parts of various takes — the beginning of one take, and the end of another, for example, if you have a cutaway to insert between them — to create the scene you want.</li>\r\n</ul>\r\n<h2 id=\"tab1\" >Choosing an editor: Cut that out!</h2>\r\nYou need to decide whether you’re going to edit the movie yourself or get a fresh pair of eyes to do it for you. Many directors avoid editing their pictures because they’re too close to the material and want to bring another perspective to the story. That’s why, on a big studio production, a picture editor starts assembling your shots and scenes together as you’re shooting, and a sound editor edits the dialogue and other sound elements.\r\n\r\nYou can place an ad seeking an editor in the classified section of many film and trade magazines like <em>Backstage</em> (www.backstage.com) or search online at www.crewnet.com for an editor near you. Look for someone who has at least a few films under his belt and ask to see a sample of his work — does he cut scenes tight so they don’t lag? But if you’re on a small production, you’re probably your own editor. You’re in good company, though. Robert Rodriguez <em>(El Mariachi </em>and<em> Sin City)</em> prefers to cut his own films.\r\n<p class=\"article-tips remember\">One of the advantages of hiring an editor is that he or she can start assembling what you’ve shot immediately after the first day on the set. This means that your editor can tell you while you’re shooting whether you need extra footage: a <em>cutaway</em> (a reaction shot or something that helps piece two other shots together seamlessly) to make a scene work better, a close-up of some person or object, or an <em>establishing shot</em> (a wide shot of the location that orientates the audience to where the scene is taking place).</p>\r\n\r\n<h2 id=\"tab2\" ><a name=\"_Toc203303599\"></a>Shooting enough coverage</h2>\r\nYou need to shoot enough <em>coverage</em> so that you have plenty of different takes and interesting angles to choose from. Every time you add another angle to a scene, you make it more interesting and less monotonous. Using just one shot in a two-minute scene is like having a stare-down — and that’s just dull and annoying (unless it’s a bet to see who wins). The camera never blinks — that’s what cutting is for. Cutting is like blinking from one shot to the next. When you watch a play, you don’t stare at the stage as a whole the entire time; you concentrate on the individual actors as they speak, or on a prop or action sequence that catches your attention.\r\n<p class=\"article-tips tip\">If you don’t have time to shoot several angles, then create movement in the shot, such as having the camera follow or lead your actors as they’re walking and talking. Make the shot as interesting as possible.</p>\r\nSome directors shoot a ratio of three takes to get one shot (3:1), and some shoot ten or more. The editor’s job is to find the best take or to combine the best of several takes with cutaways. As you start to piece the movie together, it magically begins to take on a shape of its own, and the story starts to (hopefully) make sense.\r\n<h2 id=\"tab3\" ><a name=\"_Toc203303600\"></a>Assembling a first cut</h2>\r\nThe first step is piecing together what is called an <em>assembly cut, rough cut,</em> or <em>first cut.</em> This is the most basic cut possible, showing the story in continuity (because often the scenes are shot out of order, out of continuity).\r\n\r\nEditing the visuals of your movie is very similar to writing a screenplay. The first assembly of footage is like the first rough draft, putting things into perspective and giving you a feel for your story. After you have your basic cut, you start shaping, trimming, and cutting until your film feels complete. Like dancing, there’s a rhythm to cutting — it flows, and everything feels like it’s falling into place.\r\n<p class=\"article-tips remember\">Don’t be discouraged if the first cut doesn’t excite you. The pacing may seem too slow, the performances may appear dull. I’ve often been disappointed with a first cut — and apparently, many big studio directors have had concerns after working on their first cuts. After your first cut, you start to get a sense of how to tighten up the picture. You start to cut out long boring exits to the door, pauses that are too long between lines, or a scene that isn’t working and that won’t be missed if you cut it out entirely. You may even want to reshoot or add a completely new scene to make the picture better as a whole. You need to do a lot of shaping and adjusting before your masterpiece shines through. It’s like molding something out of clay — you have to keep chipping away until you like what you see. Also, remember, you are seeing the movie still in its raw form because color-correction, sound effects, music score, special effects, and other elements have not been added yet.</p>\r\n\r\n<h2 id=\"tab4\" ><a name=\"_Toc203303601\"></a>Building a director’s cut</h2>\r\nThe director’s contract usually stipulates whether he gets to make sure his vision is followed in the editing room by approving the final cut of the movie. This final, director-approved cut is called a <em>director’s cut.</em> The director usually views an assembly, or first, cut (scenes assembled loosely in continuity according to the screenplay; see the preceding section) by the picture editor. The director then gives the editor suggestions on where to place specific shots, close-ups, and establishing shots; how to change the order of things; how to tighten a scene; and so on.\r\n\r\nUsually, a director gets a director’s cut based on his clout in the industry. Ultimately, the big studio has the final say in the cutting of a picture if the director doesn’t contractually have final cut. Steven Spielberg always gets final say because he’s earned that honor and proven himself to know what works and what doesn’t. George Lucas always has the final cut because he doesn’t report to anyone but himself! With the release of most films on DVD or streaming now, many directors who didn’t have the clout to get a director’s cut theatrically in their studio contract now have the opportunity to get a director’s cut featured as one of the bonuses on the DVD or streaming sites such as on iTunes. Chances are, you are your own studio boss, so you decide who gets final say on editing. You will probably have director’s cut because you report to yourself!\r\n\r\n[caption id=\"attachment_266963\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266963\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-directors-cut.jpg\" alt=\"director editing on iMac\" width=\"556\" height=\"417\" /> The author working on his “director’s cut” on an iMac connected to a big screen TV for checking details.[/caption]\r\n<h2 id=\"tab5\" ><a name=\"_Toc203303602\"></a>Photo finish: Finalizing a final cut</h2>\r\nMany times a studio screens a version of the movie to a <em>test audience</em> (a group of people brought in to watch and rate the picture). The audience members fill out a questionnaire, and the studio (or the director, if they have final cut) evaluates all the comments from the screening and may re-edit accordingly.\r\n\r\nAfter all the editing is finished and approved, you create the final, <em>locked</em> picture approved by the studio — or by the director if he has the authority to make the final cut (which you probably do have if you’re an independent director). Now the postproduction work on sound begins, and the composer can start timing the scenes that will be <em>scored</em> (set to music).\r\n<h2 id=\"tab6\" ><a name=\"_Toc203303603\"></a>Listening to the sound editor</h2>\r\nIn addition to editing the picture on your movie, you have to assemble and edit the sound elements. These elements are prepared by the sound editor, who is most often the picture editor and even the final postproduction sound mixer on an independent film. The sound elements are put onto separate audio channels (called <em>tracks</em>) and then mixed down into a final soundtrack that combines all channels mixed together. Some of those edited sound elements include:\r\n<ul>\r\n \t<li>Dialogue (may have separate dialogue tracks for each actor)</li>\r\n \t<li>Sound effects (can have unlimited sound-effects tracks)</li>\r\n \t<li>Music (usually one or two tracks for music)</li>\r\n \t<li>Ambience (background sounds like birds chirping, an air-conditioner humming, ocean waves crashing, and so on)</li>\r\n</ul>\r\n<p class=\"article-tips remember\">Dialogue editing is as important as your picture edit. The sound editor has a variety of elements to consider, such as overlapping conversations or starting a character’s dialogue over the end of another character’s shot.</p>","description":"Editing is more than just piecing together shots into scenes. Understanding the story and the best way to tell it is an art. <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/film-editing-on-your-computer/\">Editing</a> controls the feel of your film and can make or break the illusion. To edit well, you need to know on what frame to start your shot and on what frame to end it, when to cut to the <em>reaction shot</em> (a visual response from another actor in the scene), and when to stay on the main character.\r\n\r\nSome of the elements you need to consider when editing are\r\n<ul>\r\n \t<li><strong>Pacing: </strong>The length of shots and scenes gives the entire film a pace — a feeling of moving fast or slow. You don’t want your film to lag.</li>\r\n \t<li><strong>Scene length:</strong> Keep scenes under three minutes if possible, so they don’t drag on and seem monotonous.</li>\r\n \t<li><strong>Order of shots and scenes:</strong> By arranging your shots in a particular sequence, you can dramatically affect a scene’s meaning. See the later section “Linear versus Nonlinear Editing” for details.</li>\r\n \t<li><strong>Cutting on action: </strong>Most shots cut (or edit) better on action. If your actor is opening a car door, have him or her repeat the action while you shoot it from different angles or shot sizes (such as a close-up or a wide shot). You then can overlap the shots as you cut on the motion. This is also called <em>matching,</em> and it helps hide the cut, making the transition appear seamless.</li>\r\n \t<li><strong>Matching shots: </strong>You want to join static shots with static shots, and moving shots next to other moving shots. If you have a fast-paced car-chase scene and the camera is moving wildly to follow the action, a sudden static shot of a car sitting quietly at a stop light will be jarring. (Of course, that may be the effect you want.)</li>\r\n \t<li><strong>Varying the angle and size of shots: </strong>A <em>jump-cut</em> happens when shots that are too similar in appearance are cut together, making the picture look as if it has jumped, or that the actor has popped from one spot to another. In order to avoid a jump-cut, you need to vary the angle and size of the next shot. One way to avoid a jump-cut is to shoot a cutaway of an actor’s reaction or of a significant object on-set that you can use to tie two different shots together. An appropriate cutaway can often save the day.</li>\r\n \t<li><strong>Showing simultaneous action:</strong> You can cut back and forth between scenes happening at the same time. This is called <em>cross-cutting. </em>Or you can make a <em>parallel cut, </em>which is showing the simultaneous action with a split screen. This was often done on the TV show <em>24</em>.</li>\r\n \t<li><strong>Choosing the best take (or combining the best of several takes): </strong>You shoot several takes of a particular scene so that you have a choice in the editing room. Obviously, the more takes you have, the more choices. You can also combine parts of various takes — the beginning of one take, and the end of another, for example, if you have a cutaway to insert between them — to create the scene you want.</li>\r\n</ul>\r\n<h2 id=\"tab1\" >Choosing an editor: Cut that out!</h2>\r\nYou need to decide whether you’re going to edit the movie yourself or get a fresh pair of eyes to do it for you. Many directors avoid editing their pictures because they’re too close to the material and want to bring another perspective to the story. That’s why, on a big studio production, a picture editor starts assembling your shots and scenes together as you’re shooting, and a sound editor edits the dialogue and other sound elements.\r\n\r\nYou can place an ad seeking an editor in the classified section of many film and trade magazines like <em>Backstage</em> (www.backstage.com) or search online at www.crewnet.com for an editor near you. Look for someone who has at least a few films under his belt and ask to see a sample of his work — does he cut scenes tight so they don’t lag? But if you’re on a small production, you’re probably your own editor. You’re in good company, though. Robert Rodriguez <em>(El Mariachi </em>and<em> Sin City)</em> prefers to cut his own films.\r\n<p class=\"article-tips remember\">One of the advantages of hiring an editor is that he or she can start assembling what you’ve shot immediately after the first day on the set. This means that your editor can tell you while you’re shooting whether you need extra footage: a <em>cutaway</em> (a reaction shot or something that helps piece two other shots together seamlessly) to make a scene work better, a close-up of some person or object, or an <em>establishing shot</em> (a wide shot of the location that orientates the audience to where the scene is taking place).</p>\r\n\r\n<h2 id=\"tab2\" ><a name=\"_Toc203303599\"></a>Shooting enough coverage</h2>\r\nYou need to shoot enough <em>coverage</em> so that you have plenty of different takes and interesting angles to choose from. Every time you add another angle to a scene, you make it more interesting and less monotonous. Using just one shot in a two-minute scene is like having a stare-down — and that’s just dull and annoying (unless it’s a bet to see who wins). The camera never blinks — that’s what cutting is for. Cutting is like blinking from one shot to the next. When you watch a play, you don’t stare at the stage as a whole the entire time; you concentrate on the individual actors as they speak, or on a prop or action sequence that catches your attention.\r\n<p class=\"article-tips tip\">If you don’t have time to shoot several angles, then create movement in the shot, such as having the camera follow or lead your actors as they’re walking and talking. Make the shot as interesting as possible.</p>\r\nSome directors shoot a ratio of three takes to get one shot (3:1), and some shoot ten or more. The editor’s job is to find the best take or to combine the best of several takes with cutaways. As you start to piece the movie together, it magically begins to take on a shape of its own, and the story starts to (hopefully) make sense.\r\n<h2 id=\"tab3\" ><a name=\"_Toc203303600\"></a>Assembling a first cut</h2>\r\nThe first step is piecing together what is called an <em>assembly cut, rough cut,</em> or <em>first cut.</em> This is the most basic cut possible, showing the story in continuity (because often the scenes are shot out of order, out of continuity).\r\n\r\nEditing the visuals of your movie is very similar to writing a screenplay. The first assembly of footage is like the first rough draft, putting things into perspective and giving you a feel for your story. After you have your basic cut, you start shaping, trimming, and cutting until your film feels complete. Like dancing, there’s a rhythm to cutting — it flows, and everything feels like it’s falling into place.\r\n<p class=\"article-tips remember\">Don’t be discouraged if the first cut doesn’t excite you. The pacing may seem too slow, the performances may appear dull. I’ve often been disappointed with a first cut — and apparently, many big studio directors have had concerns after working on their first cuts. After your first cut, you start to get a sense of how to tighten up the picture. You start to cut out long boring exits to the door, pauses that are too long between lines, or a scene that isn’t working and that won’t be missed if you cut it out entirely. You may even want to reshoot or add a completely new scene to make the picture better as a whole. You need to do a lot of shaping and adjusting before your masterpiece shines through. It’s like molding something out of clay — you have to keep chipping away until you like what you see. Also, remember, you are seeing the movie still in its raw form because color-correction, sound effects, music score, special effects, and other elements have not been added yet.</p>\r\n\r\n<h2 id=\"tab4\" ><a name=\"_Toc203303601\"></a>Building a director’s cut</h2>\r\nThe director’s contract usually stipulates whether he gets to make sure his vision is followed in the editing room by approving the final cut of the movie. This final, director-approved cut is called a <em>director’s cut.</em> The director usually views an assembly, or first, cut (scenes assembled loosely in continuity according to the screenplay; see the preceding section) by the picture editor. The director then gives the editor suggestions on where to place specific shots, close-ups, and establishing shots; how to change the order of things; how to tighten a scene; and so on.\r\n\r\nUsually, a director gets a director’s cut based on his clout in the industry. Ultimately, the big studio has the final say in the cutting of a picture if the director doesn’t contractually have final cut. Steven Spielberg always gets final say because he’s earned that honor and proven himself to know what works and what doesn’t. George Lucas always has the final cut because he doesn’t report to anyone but himself! With the release of most films on DVD or streaming now, many directors who didn’t have the clout to get a director’s cut theatrically in their studio contract now have the opportunity to get a director’s cut featured as one of the bonuses on the DVD or streaming sites such as on iTunes. Chances are, you are your own studio boss, so you decide who gets final say on editing. You will probably have director’s cut because you report to yourself!\r\n\r\n[caption id=\"attachment_266963\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266963\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-directors-cut.jpg\" alt=\"director editing on iMac\" width=\"556\" height=\"417\" /> The author working on his “director’s cut” on an iMac connected to a big screen TV for checking details.[/caption]\r\n<h2 id=\"tab5\" ><a name=\"_Toc203303602\"></a>Photo finish: Finalizing a final cut</h2>\r\nMany times a studio screens a version of the movie to a <em>test audience</em> (a group of people brought in to watch and rate the picture). The audience members fill out a questionnaire, and the studio (or the director, if they have final cut) evaluates all the comments from the screening and may re-edit accordingly.\r\n\r\nAfter all the editing is finished and approved, you create the final, <em>locked</em> picture approved by the studio — or by the director if he has the authority to make the final cut (which you probably do have if you’re an independent director). Now the postproduction work on sound begins, and the composer can start timing the scenes that will be <em>scored</em> (set to music).\r\n<h2 id=\"tab6\" ><a name=\"_Toc203303603\"></a>Listening to the sound editor</h2>\r\nIn addition to editing the picture on your movie, you have to assemble and edit the sound elements. These elements are prepared by the sound editor, who is most often the picture editor and even the final postproduction sound mixer on an independent film. The sound elements are put onto separate audio channels (called <em>tracks</em>) and then mixed down into a final soundtrack that combines all channels mixed together. Some of those edited sound elements include:\r\n<ul>\r\n \t<li>Dialogue (may have separate dialogue tracks for each actor)</li>\r\n \t<li>Sound effects (can have unlimited sound-effects tracks)</li>\r\n \t<li>Music (usually one or two tracks for music)</li>\r\n \t<li>Ambience (background sounds like birds chirping, an air-conditioner humming, ocean waves crashing, and so on)</li>\r\n</ul>\r\n<p class=\"article-tips remember\">Dialogue editing is as important as your picture edit. The sound editor has a variety of elements to consider, such as overlapping conversations or starting a character’s dialogue over the end of another character’s shot.</p>","blurb":"","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[{"label":"Choosing an editor: Cut that out!","target":"#tab1"},{"label":"Shooting enough coverage","target":"#tab2"},{"label":"Assembling a first cut","target":"#tab3"},{"label":"Building a director’s cut","target":"#tab4"},{"label":"Photo finish: Finalizing a final cut","target":"#tab5"},{"label":"Listening to the sound editor","target":"#tab6"}],"relatedArticles":{"fromBook":[{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}},{"articleId":209011,"title":"Filmmaking For Dummies Cheat Sheet","slug":"filmmaking-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/209011"}}],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266956,"title":"Film Editing on Your Computer","slug":"film-editing-on-your-computer","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266956"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":282198,"slug":"filmmaking-for-dummies-3rd-edition","isbn":"9781119617853","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119617855-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/filmmaking-for-dummies-3rd-edition-cover-9781119617853-203x255.jpg","width":203,"height":255},"title":"Filmmaking For Dummies","testBankPinActivationLink":"","bookOutOfPrint":true,"authorsInfo":"<p><p><b><b data-author-id=\"10360\">Bryan Michael Stoller</b></b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com.</p>","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab77f41c\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab77fc5f\"></div></div>"},"articleType":{"articleType":"Articles","articleList":null,"content":null,"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Advance","lifeExpectancy":null,"lifeExpectancySetFrom":null,"dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":266962},{"headers":{"creationTime":"2019-12-30T22:44:54+00:00","modifiedTime":"2019-12-30T22:44:54+00:00","timestamp":"2022-09-14T18:17:27+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Film Editing on Your Computer","strippedTitle":"film editing on your computer","slug":"film-editing-on-your-computer","canonicalUrl":"","seo":{"metaDescription":"Explore some of the video editing software that's out there and how you can use it to turn your computer in an editing lab—from Dummies.com.","noIndex":0,"noFollow":0},"content":"The same computer on which you write letters, organize your bank account, surf the Internet, and maybe even write your script can now easily be turned into a powerful editing machine. Most computers, both PC and Apple computers, are able to edit a movie in a nonlinear environment and are limited only by the size of their hard drives (but unlimited when using external hard drives).\r\n\r\nIn nonlinear editing (NLE), you take all your separate shots, arrange them in story order, and then play them consecutively to form a scene. Every frame has its own individual set of <em>time-code numbers</em> (numbers generated electronically on the video image or in a computer) or <em>edge-code numbers</em> (numbers printed on the actual film stock) that pinpoint its exact starting and ending frames. Computer software can then generate an <em>edit list</em> that accurately contains the hour, minutes, seconds, and frames of your shots and identifies each cut made by the editor. With the right editing software, you have the capability to edit your movie without leaving your computer. (For technical tips on setting up your own editing studio, check out <em><a href=\"https://www.dummies.com/photography/video/digital-video-for-dummies-4th-edition/\">Digital Video For Dummies</a> </em>by Keith Underdahl, published by Wiley.)\r\n\r\nYou can also purchase third-party software programs to perform additional functions like special effects, mattes, and process digital footage to look more like it was shot on motion picture film stock.\r\n<h2 id=\"tab1\" ><a name=\"_Toc203303608\"></a>Hard driving</h2>\r\nYour computer hard drive stores all your picture information. Because you’ll probably need more hard drive space than the amount that’s in your computer’s internal hard drive, you may want to purchase an external hard drive or two. An external hard drive these days is often compact — about the size of a paperback novel or not much bigger than a deck of cards. External hard drives connect to your computer via USB 3, USB C cables, or <em>thunderbolt</em> for speedy data transfer.\r\n\r\nMost external hard drives can be formatted for either PC or Mac platforms. The <em>codec</em> (digital file format) you record in will determine on how much storage space you will need on your external hard drive. Examples of certain codecs are .mov, MP4, H264, H265, ProRes 4444, and so on. Each one compresses your footage differently. Some are large files, some are small. H264 and H265 are known to compress large files into smaller files that maintain quality without much loss from image compression. When capturing or transferring high definition footage (depending on the compression), it can equate to around one gig per minute (or more if shooting above 2K) — so a 500GB external drive in high def can hold up 500 minutes. I like to use at least a 4 terabyte external drive, also known as 4TB — 4,000 gigabytes.\r\n<h2 id=\"tab2\" ><a name=\"_Toc203303609\"></a>Cutting it with editing software</h2>\r\nWithout software, a computer has no personality. Add movie-editing software often known as NLE (nonlinear editing) and it becomes a complete postproduction editing suite within the confines of your desk space. You can choose from numerous editing programs on the market that allow you to affordably edit your digital footage in a nonlinear environment. Some computers even come with free editing software.\r\n<p class=\"article-tips remember\">Most software-editing programs use these basic components of nonlinear editing:</p>\r\n\r\n<ul>\r\n \t<li>A bin to hold your individual shots</li>\r\n \t<li>A timeline that allows you to assemble your shots in any order (it resembles individual storyboard panels placed one after another)</li>\r\n \t<li>A main window that plays back your edited footage</li>\r\n \t<li>Titling, effects and transition options</li>\r\n</ul>\r\nAll editing software accepts 2K high definition files, but many also work with digital files up to 4K resolution. 4K takes more CPU (computer power) so even if the software will edit 4K footage, make sure your computer has the right operating system, enough memory, and the correct specifications to run very large files.\r\n<h3><a name=\"_Toc203303610\"></a>iMovie</h3>\r\nMany Apple computers come with iMovie, a free, simple-to-use, nonlinear editing software that allows you to cut your movie on your computer. The program also comes with over 80 music soundtracks you can use with your footage. Check out <em>Digital Video For Dummies</em> by Keith Underdahl (published by Wiley), which guides you through the steps of using this effective and easy-to-use software to edit your projects.\r\n<h3><a name=\"_Toc203303611\"></a>An Avid Fan</h3>\r\nAvid, a name synonymous with nonlinear editing, makes the multi-award-winning <a href=\"http://www.avid.com/\">Media Composer software</a>, which works with Mac or PC platforms. The program works with high definition resolution up to 16K. Many studio feature films have been edited on Media Composer software. Avid’s software is more sophisticated than other lower-priced editing software, but it also has a longer learning curve. The software includes audio tools for post sound. It also includes titling and graphics, along with a variety of real-time effects. Avid charges a monthly or yearly subscription charge to use their editing software.\r\n<h3><a name=\"_Toc203303612\"></a>Becoming a Pro with Final Cut</h3>\r\nMy favorite editing program, without hesitation, is Final Cut Pro 10 (FCPX), available for use with Apple computers for $299. No monthly subscription. You own it and the free Apple support is as good as it gets. It’s a professional and powerful nonlinear software program for cutting picture (2K and 4K) as well as audio. It’s much more sophisticated than iMovie or some of the other nonlinear software, and it can produce some amazing results, including titles, effects, transitions, and color-correction. With it, you can repair shaky footage, fix many audio problems, and even create closed captions. The program also comes with an extensive sound effects and music library. This is a whole new reworking of Final Cut Pro, and for those who gave up on FCPX after FCP7 — you need to revisit this amazing software. You can even download and use it for free on a trial basis for a whole month! Check it out at the Apple App Store and download it today (if you use a Mac).\r\n\r\nThis is not only the perfect nonlinear editing software for the novice independent filmmaker, many feature films have been cut using the software, including my film, <em>Santa Stole Our Dog</em>, which was released by Universal Home Entertainment. A lot of great tutorials on YouTube show you how effective and user-friendly Final Cut Pro X is. I won’t cut on anything else!\r\n\r\n[caption id=\"attachment_266958\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266958\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-final-cut-pro.jpg\" alt=\"Final Cut Pro X editing software program.\" width=\"556\" height=\"405\" /> Final Cut Pro X screenshot reprinted by permission of Apple Computer, Inc.<br /><br />Final Cut Pro X editing software program.[/caption]\r\n<h3>Resolving Di Vinci</h3>\r\nBlackmagic (the ones that make the cool digital pocket cameras) also developed a widely used nonlinear editing program called Di Vinci Resolve. Depending which version you use, or whether you’ve bought a Blackmagic camera — the editing software may be free to you! Resolve also is known for its powerful color-correcting and -grading software — used by many colorist professionals in Hollywood and abroad.\r\n<h3>Wonderful Filmora</h3>\r\nFilmora from Wondershare is an affordable one-time buy of $59 NLE software that is packed with lots of power. The program is easy to learn, and you can find lots of helpful tutorials on the Wondershare website. The program has effects and transitions included. The limitation, though, is that no third-party plug-ins are made for Filmora like there are for some of the other editing programs like Final Cut Pro, Avid, and Premiere.\r\n<h3><a name=\"_Toc203303613\"></a>Premiering Adobe</h3>\r\nAdobe makes popular software programs for the editing world: Adobe Premiere Pro for picture and sound editing (priced at $239 a year). Unless you edit for a living this can be very expensive because it’s a monthly and/or yearly subscription. I have edited with Premiere and definitely prefer editing on Final Cut Pro. I kept running into technical issues with Premiere and found limitations with the software compared to other editing software. Adobe also makes other software like Adobe After Effects (a powerful effects engine) that you can add to your monthly or yearly subscription. Check out <a href=\"http://www.adobe.com/\">Adobe’s products</a>.\r\n<p class=\"article-tips tip\"><a href=\"http://www.kbcovers.com/\">KB Covers</a> makes really cool keyboard covers, each individually customized to precisely fit over different brands of computer keyboards, including laptops and MacBooks — and are designed to work with many of the major editing software programs, like Final Cut Pro, Avid, and Premiere Pro. Chances are, they’ll have a precision fit cover for your keyboard, designed to work with your editing software. It’s like a short cut for editing, because the thin silicone cover converts your keyboard by displaying all the shortcut keys for most editing functions. These covers can definitely speed up your editing game.</p>\r\n\r\n\r\n[caption id=\"attachment_266957\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266957\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-kb-covers.jpg\" alt=\"keypad cover\" width=\"556\" height=\"417\" /> KB silicone keyboard cover customized for FCPX for use on iMac keypad.[/caption]\r\n<h3><a name=\"_Toc203303614\"></a>Simulating cinema with software</h3>\r\nMany independent filmmakers desperately want to make a movie that looks like it was shot on 35mm film — but they can’t afford the expense that comes with shooting on motion picture film stock. There are now software programs that will process your digital video footage in the postproduction phase and create the illusion (as best it can) that you shot on 35mm film. These programs emulate the characteristics associated with the look of film stock, such as grain, contrast, softness, subtle shuttle flutter, and saturated colors. The software also pulls down footage shot at 30-frames per second to emulate the 24 standard frames used with motion picture film cameras. <a href=\"http://www.filmconvert.com/\">FilmConvert</a> is a unique software program that converts and emulates a pretty effective film-look to your digitally shot footage.\r\n\r\n<a href=\"http://www.redgiant.com/\">Red Giant</a> puts out software called Magic Bullet Looks that has settings to emulate particular Kodak and Fuji film stock emulsions. The software also has other color-correction presets and color-correction controls allowing you to start from scratch. Remember though, you may get close, but digital will never look exactly like film, because film is organic and digital is electronic — but advances in technology are bringing them closer. Magic Bullet Looks works with many of the popular NLE editing programs, including Final Cut Pro, Resolve, and Avid Media Composer.\r\n<p class=\"article-tips tip\">This neat little tip could save your production! I discovered a miraculous software plug-in call Neat Video. It is a magical plug-in that fixes dancing grain or noisy footage that appears to be completely unusable — or at least distracting to the viewer. This amazing and powerful software works with many nonlinear editing platforms like Final Cut Pro and Adobe Premiere. It saved one of my movies where some of my dark, underlit scenes had so much grain and noise they were almost unwatchable and wouldn’t have passed broadcast specifications. The <a href=\"http://www.neatvideo.com/\">Neat Video</a> software quickly smoothed out my shots by removing unwanted grain and noise, and turned some pretty ugly visuals into images of beauty. And the shots passed the strict technical QC test to air on broadcast television and on several popular streaming platforms!</p>\r\n\r\n<h2 id=\"tab3\" ><a name=\"_Toc203303615\"></a>Posting your production in your computer</h2>\r\nAfter you finish editing all the dialogue and picture elements for your movie in your computer, you’re ready to marry your picture and sound together. If the final production is going to television, DVD and digital streaming distribution (and not a theatrical release), then you can continue to do most of your final preparations in the computer (color correcting, titles, and so on). If you plan on getting a theatrical release for your picture, then you’ll need to have a DCP (digital cinema package) authored by a post-production house.\r\n<h2 id=\"tab4\" ><a name=\"_Toc203303622\"></a>Outputting your masterpiece</h2>\r\nOnce you’ve completed your final cut, you then have to figure out how you’re going to get your movie out of your computer. There’s a variety of ways to output your movie. One way is to make a QuickTime file. Think of a QuickTime file as a container. It can contain different digital codecs including ProRes, H.264, and MPEG-4 MOV files. This file can be exported to an external hard drive or authored onto a standard DVD or Blu-ray disc (depending on the size of the file). Most TV networks and streaming platforms will accept delivery of your movie on an external hard drive. A QuickTime file can even be uploaded and showcased on YouTube, Vimeo, or Facebook. If you are entering your movie in a film festival, you can often upload the QuickTime of your movie to a private and secure site that the film festival uses to review entries (instead of shipping out a DVD or Blu-ray disc).\r\n\r\nIf you want to export your edited movie from your computer directly to digital tape which is usually Digibeta tape (sometimes a requirement for TV broadcast or streaming platforms), then you have several options. You can rent a Digibeta tape machine and output the QuickTime file of your movie yourself, or you can take your QuickTime file to a professional post-production facility and have the people there transfer the QuickTime file to digital videotape for you. In the long run, it’s easier to have a post-production house do it, because they will guarantee it’s done right.\r\n<p class=\"article-tips remember\">In this day and age of entertainment outlets, things have changed exponentially in the last few years. No longer is entertainment limited to a few major TV networks. With advances in digital technology, the Internet, and the explosion of wireless communications — we have unlimited entertainment at our fingertips — literally. Netflix brought a new age of entertainment by offering tens of thousands of movies and TV series available to everyone (with a subscription) on your schedule, and at your convenience. On the heels of Netflix, we now have an explosion of more streaming platforms. Amazon Prime Video, Disney Plus, CBS All Access, Universal, Warner Bros., and even Apple are into the streaming game. I’m just waiting for an implosion. Too many services, too many series and movies. Eventually I think quantity is going to overcome quality. YouTube and Vimeo offers a platform that anyone can upload their short or feature film and can now call themselves a published artist. But looking at the big picture — all these streaming services are going to need content. Maybe this is a good thing for you!</p>\r\n<p class=\"article-tips tip\">If you’ve ever had the challenge of trying to send a digital file to someone (like your special-effects guy) via email but the file was too big, here’s a little secret: Check out www.hightail.com. This site allows you to upload and download files. The cost? Files up to 100MB are free; files up to 25GB are $12 a month.</p>","description":"The same computer on which you write letters, organize your bank account, surf the Internet, and maybe even write your script can now easily be turned into a powerful editing machine. Most computers, both PC and Apple computers, are able to edit a movie in a nonlinear environment and are limited only by the size of their hard drives (but unlimited when using external hard drives).\r\n\r\nIn nonlinear editing (NLE), you take all your separate shots, arrange them in story order, and then play them consecutively to form a scene. Every frame has its own individual set of <em>time-code numbers</em> (numbers generated electronically on the video image or in a computer) or <em>edge-code numbers</em> (numbers printed on the actual film stock) that pinpoint its exact starting and ending frames. Computer software can then generate an <em>edit list</em> that accurately contains the hour, minutes, seconds, and frames of your shots and identifies each cut made by the editor. With the right editing software, you have the capability to edit your movie without leaving your computer. (For technical tips on setting up your own editing studio, check out <em><a href=\"https://www.dummies.com/photography/video/digital-video-for-dummies-4th-edition/\">Digital Video For Dummies</a> </em>by Keith Underdahl, published by Wiley.)\r\n\r\nYou can also purchase third-party software programs to perform additional functions like special effects, mattes, and process digital footage to look more like it was shot on motion picture film stock.\r\n<h2 id=\"tab1\" ><a name=\"_Toc203303608\"></a>Hard driving</h2>\r\nYour computer hard drive stores all your picture information. Because you’ll probably need more hard drive space than the amount that’s in your computer’s internal hard drive, you may want to purchase an external hard drive or two. An external hard drive these days is often compact — about the size of a paperback novel or not much bigger than a deck of cards. External hard drives connect to your computer via USB 3, USB C cables, or <em>thunderbolt</em> for speedy data transfer.\r\n\r\nMost external hard drives can be formatted for either PC or Mac platforms. The <em>codec</em> (digital file format) you record in will determine on how much storage space you will need on your external hard drive. Examples of certain codecs are .mov, MP4, H264, H265, ProRes 4444, and so on. Each one compresses your footage differently. Some are large files, some are small. H264 and H265 are known to compress large files into smaller files that maintain quality without much loss from image compression. When capturing or transferring high definition footage (depending on the compression), it can equate to around one gig per minute (or more if shooting above 2K) — so a 500GB external drive in high def can hold up 500 minutes. I like to use at least a 4 terabyte external drive, also known as 4TB — 4,000 gigabytes.\r\n<h2 id=\"tab2\" ><a name=\"_Toc203303609\"></a>Cutting it with editing software</h2>\r\nWithout software, a computer has no personality. Add movie-editing software often known as NLE (nonlinear editing) and it becomes a complete postproduction editing suite within the confines of your desk space. You can choose from numerous editing programs on the market that allow you to affordably edit your digital footage in a nonlinear environment. Some computers even come with free editing software.\r\n<p class=\"article-tips remember\">Most software-editing programs use these basic components of nonlinear editing:</p>\r\n\r\n<ul>\r\n \t<li>A bin to hold your individual shots</li>\r\n \t<li>A timeline that allows you to assemble your shots in any order (it resembles individual storyboard panels placed one after another)</li>\r\n \t<li>A main window that plays back your edited footage</li>\r\n \t<li>Titling, effects and transition options</li>\r\n</ul>\r\nAll editing software accepts 2K high definition files, but many also work with digital files up to 4K resolution. 4K takes more CPU (computer power) so even if the software will edit 4K footage, make sure your computer has the right operating system, enough memory, and the correct specifications to run very large files.\r\n<h3><a name=\"_Toc203303610\"></a>iMovie</h3>\r\nMany Apple computers come with iMovie, a free, simple-to-use, nonlinear editing software that allows you to cut your movie on your computer. The program also comes with over 80 music soundtracks you can use with your footage. Check out <em>Digital Video For Dummies</em> by Keith Underdahl (published by Wiley), which guides you through the steps of using this effective and easy-to-use software to edit your projects.\r\n<h3><a name=\"_Toc203303611\"></a>An Avid Fan</h3>\r\nAvid, a name synonymous with nonlinear editing, makes the multi-award-winning <a href=\"http://www.avid.com/\">Media Composer software</a>, which works with Mac or PC platforms. The program works with high definition resolution up to 16K. Many studio feature films have been edited on Media Composer software. Avid’s software is more sophisticated than other lower-priced editing software, but it also has a longer learning curve. The software includes audio tools for post sound. It also includes titling and graphics, along with a variety of real-time effects. Avid charges a monthly or yearly subscription charge to use their editing software.\r\n<h3><a name=\"_Toc203303612\"></a>Becoming a Pro with Final Cut</h3>\r\nMy favorite editing program, without hesitation, is Final Cut Pro 10 (FCPX), available for use with Apple computers for $299. No monthly subscription. You own it and the free Apple support is as good as it gets. It’s a professional and powerful nonlinear software program for cutting picture (2K and 4K) as well as audio. It’s much more sophisticated than iMovie or some of the other nonlinear software, and it can produce some amazing results, including titles, effects, transitions, and color-correction. With it, you can repair shaky footage, fix many audio problems, and even create closed captions. The program also comes with an extensive sound effects and music library. This is a whole new reworking of Final Cut Pro, and for those who gave up on FCPX after FCP7 — you need to revisit this amazing software. You can even download and use it for free on a trial basis for a whole month! Check it out at the Apple App Store and download it today (if you use a Mac).\r\n\r\nThis is not only the perfect nonlinear editing software for the novice independent filmmaker, many feature films have been cut using the software, including my film, <em>Santa Stole Our Dog</em>, which was released by Universal Home Entertainment. A lot of great tutorials on YouTube show you how effective and user-friendly Final Cut Pro X is. I won’t cut on anything else!\r\n\r\n[caption id=\"attachment_266958\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266958\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-final-cut-pro.jpg\" alt=\"Final Cut Pro X editing software program.\" width=\"556\" height=\"405\" /> Final Cut Pro X screenshot reprinted by permission of Apple Computer, Inc.<br /><br />Final Cut Pro X editing software program.[/caption]\r\n<h3>Resolving Di Vinci</h3>\r\nBlackmagic (the ones that make the cool digital pocket cameras) also developed a widely used nonlinear editing program called Di Vinci Resolve. Depending which version you use, or whether you’ve bought a Blackmagic camera — the editing software may be free to you! Resolve also is known for its powerful color-correcting and -grading software — used by many colorist professionals in Hollywood and abroad.\r\n<h3>Wonderful Filmora</h3>\r\nFilmora from Wondershare is an affordable one-time buy of $59 NLE software that is packed with lots of power. The program is easy to learn, and you can find lots of helpful tutorials on the Wondershare website. The program has effects and transitions included. The limitation, though, is that no third-party plug-ins are made for Filmora like there are for some of the other editing programs like Final Cut Pro, Avid, and Premiere.\r\n<h3><a name=\"_Toc203303613\"></a>Premiering Adobe</h3>\r\nAdobe makes popular software programs for the editing world: Adobe Premiere Pro for picture and sound editing (priced at $239 a year). Unless you edit for a living this can be very expensive because it’s a monthly and/or yearly subscription. I have edited with Premiere and definitely prefer editing on Final Cut Pro. I kept running into technical issues with Premiere and found limitations with the software compared to other editing software. Adobe also makes other software like Adobe After Effects (a powerful effects engine) that you can add to your monthly or yearly subscription. Check out <a href=\"http://www.adobe.com/\">Adobe’s products</a>.\r\n<p class=\"article-tips tip\"><a href=\"http://www.kbcovers.com/\">KB Covers</a> makes really cool keyboard covers, each individually customized to precisely fit over different brands of computer keyboards, including laptops and MacBooks — and are designed to work with many of the major editing software programs, like Final Cut Pro, Avid, and Premiere Pro. Chances are, they’ll have a precision fit cover for your keyboard, designed to work with your editing software. It’s like a short cut for editing, because the thin silicone cover converts your keyboard by displaying all the shortcut keys for most editing functions. These covers can definitely speed up your editing game.</p>\r\n\r\n\r\n[caption id=\"attachment_266957\" align=\"alignnone\" width=\"556\"]<img class=\"size-full wp-image-266957\" src=\"https://www.dummies.com/wp-content/uploads/filmmaking-kb-covers.jpg\" alt=\"keypad cover\" width=\"556\" height=\"417\" /> KB silicone keyboard cover customized for FCPX for use on iMac keypad.[/caption]\r\n<h3><a name=\"_Toc203303614\"></a>Simulating cinema with software</h3>\r\nMany independent filmmakers desperately want to make a movie that looks like it was shot on 35mm film — but they can’t afford the expense that comes with shooting on motion picture film stock. There are now software programs that will process your digital video footage in the postproduction phase and create the illusion (as best it can) that you shot on 35mm film. These programs emulate the characteristics associated with the look of film stock, such as grain, contrast, softness, subtle shuttle flutter, and saturated colors. The software also pulls down footage shot at 30-frames per second to emulate the 24 standard frames used with motion picture film cameras. <a href=\"http://www.filmconvert.com/\">FilmConvert</a> is a unique software program that converts and emulates a pretty effective film-look to your digitally shot footage.\r\n\r\n<a href=\"http://www.redgiant.com/\">Red Giant</a> puts out software called Magic Bullet Looks that has settings to emulate particular Kodak and Fuji film stock emulsions. The software also has other color-correction presets and color-correction controls allowing you to start from scratch. Remember though, you may get close, but digital will never look exactly like film, because film is organic and digital is electronic — but advances in technology are bringing them closer. Magic Bullet Looks works with many of the popular NLE editing programs, including Final Cut Pro, Resolve, and Avid Media Composer.\r\n<p class=\"article-tips tip\">This neat little tip could save your production! I discovered a miraculous software plug-in call Neat Video. It is a magical plug-in that fixes dancing grain or noisy footage that appears to be completely unusable — or at least distracting to the viewer. This amazing and powerful software works with many nonlinear editing platforms like Final Cut Pro and Adobe Premiere. It saved one of my movies where some of my dark, underlit scenes had so much grain and noise they were almost unwatchable and wouldn’t have passed broadcast specifications. The <a href=\"http://www.neatvideo.com/\">Neat Video</a> software quickly smoothed out my shots by removing unwanted grain and noise, and turned some pretty ugly visuals into images of beauty. And the shots passed the strict technical QC test to air on broadcast television and on several popular streaming platforms!</p>\r\n\r\n<h2 id=\"tab3\" ><a name=\"_Toc203303615\"></a>Posting your production in your computer</h2>\r\nAfter you finish editing all the dialogue and picture elements for your movie in your computer, you’re ready to marry your picture and sound together. If the final production is going to television, DVD and digital streaming distribution (and not a theatrical release), then you can continue to do most of your final preparations in the computer (color correcting, titles, and so on). If you plan on getting a theatrical release for your picture, then you’ll need to have a DCP (digital cinema package) authored by a post-production house.\r\n<h2 id=\"tab4\" ><a name=\"_Toc203303622\"></a>Outputting your masterpiece</h2>\r\nOnce you’ve completed your final cut, you then have to figure out how you’re going to get your movie out of your computer. There’s a variety of ways to output your movie. One way is to make a QuickTime file. Think of a QuickTime file as a container. It can contain different digital codecs including ProRes, H.264, and MPEG-4 MOV files. This file can be exported to an external hard drive or authored onto a standard DVD or Blu-ray disc (depending on the size of the file). Most TV networks and streaming platforms will accept delivery of your movie on an external hard drive. A QuickTime file can even be uploaded and showcased on YouTube, Vimeo, or Facebook. If you are entering your movie in a film festival, you can often upload the QuickTime of your movie to a private and secure site that the film festival uses to review entries (instead of shipping out a DVD or Blu-ray disc).\r\n\r\nIf you want to export your edited movie from your computer directly to digital tape which is usually Digibeta tape (sometimes a requirement for TV broadcast or streaming platforms), then you have several options. You can rent a Digibeta tape machine and output the QuickTime file of your movie yourself, or you can take your QuickTime file to a professional post-production facility and have the people there transfer the QuickTime file to digital videotape for you. In the long run, it’s easier to have a post-production house do it, because they will guarantee it’s done right.\r\n<p class=\"article-tips remember\">In this day and age of entertainment outlets, things have changed exponentially in the last few years. No longer is entertainment limited to a few major TV networks. With advances in digital technology, the Internet, and the explosion of wireless communications — we have unlimited entertainment at our fingertips — literally. Netflix brought a new age of entertainment by offering tens of thousands of movies and TV series available to everyone (with a subscription) on your schedule, and at your convenience. On the heels of Netflix, we now have an explosion of more streaming platforms. Amazon Prime Video, Disney Plus, CBS All Access, Universal, Warner Bros., and even Apple are into the streaming game. I’m just waiting for an implosion. Too many services, too many series and movies. Eventually I think quantity is going to overcome quality. YouTube and Vimeo offers a platform that anyone can upload their short or feature film and can now call themselves a published artist. But looking at the big picture — all these streaming services are going to need content. Maybe this is a good thing for you!</p>\r\n<p class=\"article-tips tip\">If you’ve ever had the challenge of trying to send a digital file to someone (like your special-effects guy) via email but the file was too big, here’s a little secret: Check out www.hightail.com. This site allows you to upload and download files. The cost? Files up to 100MB are free; files up to 25GB are $12 a month.</p>","blurb":"","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"primaryCategoryTaxonomy":{"categoryId":33749,"title":"Film","slug":"film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"}},"secondaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"tertiaryCategoryTaxonomy":{"categoryId":0,"title":null,"slug":null,"_links":null},"trendingArticles":null,"inThisArticle":[{"label":"Hard driving","target":"#tab1"},{"label":"Cutting it with editing software","target":"#tab2"},{"label":"Posting your production in your computer","target":"#tab3"},{"label":"Outputting your masterpiece","target":"#tab4"}],"relatedArticles":{"fromBook":[{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}},{"articleId":209011,"title":"Filmmaking For Dummies Cheat Sheet","slug":"filmmaking-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/209011"}}],"fromCategory":[{"articleId":284321,"title":"Bollywood For Dummies Cheat Sheet","slug":"bollywood-for-dummies-cheat-sheet","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/284321"}},{"articleId":266979,"title":"10 Tips for Shooting on Your Smartphone","slug":"10-tips-for-shooting-on-your-smartphone","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266979"}},{"articleId":266974,"title":"Secrets to Entering and Winning Film Festivals","slug":"secrets-to-entering-and-winning-film-festivals","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266974"}},{"articleId":266967,"title":"Filmmaking and Makeup Special Effects","slug":"filmmaking-and-makeup-special-effects","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266967"}},{"articleId":266962,"title":"Editing Your Movie: Putting One Frame in Front of the Other","slug":"editing-your-movie-putting-one-frame-in-front-of-the-other","categoryList":["academics-the-arts","performing-arts","film"],"_links":{"self":"https://dummies-api.dummies.com/v2/articles/266962"}}]},"hasRelatedBookFromSearch":false,"relatedBook":{"bookId":282198,"slug":"filmmaking-for-dummies-3rd-edition","isbn":"9781119617853","categoryList":["academics-the-arts","performing-arts","film"],"amazon":{"default":"https://www.amazon.com/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","ca":"https://www.amazon.ca/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","indigo_ca":"http://www.tkqlhce.com/click-9208661-13710633?url=https://www.chapters.indigo.ca/en-ca/books/product/1119617855-item.html&cjsku=978111945484","gb":"https://www.amazon.co.uk/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20","de":"https://www.amazon.de/gp/product/1119617855/ref=as_li_tl?ie=UTF8&tag=wiley01-20"},"image":{"src":"https://www.dummies.com/wp-content/uploads/filmmaking-for-dummies-3rd-edition-cover-9781119617853-203x255.jpg","width":203,"height":255},"title":"Filmmaking For Dummies","testBankPinActivationLink":"","bookOutOfPrint":true,"authorsInfo":"<p><p><b><b data-author-id=\"10360\">Bryan Michael Stoller</b></b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com.</p>","authors":[{"authorId":10360,"name":"Bryan Michael Stoller","slug":"bryan-michael-stoller","description":" <p><b>Bryan Michael Stoller</b> is an award&#45;winning filmmaker who has produced, written, and directed more than 100 productions from music videos and commercials to TV shows and feature films. His movie <i>First Dog</i> had nearly a half&#45;million Redbox rentals, and he has directed stars such as Edward Asner, Barbra Streisand, James Earl Jones, Drew Barrymore, and Dan Aykroyd. Bryan&#39;s movies have amassed close to eighteen&#45;million views on video on demand platforms. Learn more at www.BryanMichaelStoller.com. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/10360"}}],"_links":{"self":"https://dummies-api.dummies.com/v2/books/"}},"collections":[],"articleAds":{"footerAd":"<div class=\"du-ad-region row\" id=\"article_page_adhesion_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_adhesion_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab777e7b\"></div></div>","rightAd":"<div class=\"du-ad-region row\" id=\"article_page_right_ad\"><div class=\"du-ad-unit col-md-12\" data-slot-id=\"article_page_right_ad\" data-refreshed=\"false\" \r\n data-target = \"[{&quot;key&quot;:&quot;cat&quot;,&quot;values&quot;:[&quot;academics-the-arts&quot;,&quot;performing-arts&quot;,&quot;film&quot;]},{&quot;key&quot;:&quot;isbn&quot;,&quot;values&quot;:[&quot;9781119617853&quot;]}]\" id=\"du-slot-63221ab7786e9\"></div></div>"},"articleType":{"articleType":"Articles","articleList":null,"content":null,"videoInfo":{"videoId":null,"name":null,"accountId":null,"playerId":null,"thumbnailUrl":null,"description":null,"uploadDate":null}},"sponsorship":{"sponsorshipPage":false,"backgroundImage":{"src":null,"width":0,"height":0},"brandingLine":"","brandingLink":"","brandingLogo":{"src":null,"width":0,"height":0},"sponsorAd":"","sponsorEbookTitle":"","sponsorEbookLink":"","sponsorEbookImage":{"src":null,"width":0,"height":0}},"primaryLearningPath":"Advance","lifeExpectancy":null,"lifeExpectancySetFrom":null,"dummiesForKids":"no","sponsoredContent":"no","adInfo":"","adPairKey":[]},"status":"publish","visibility":"public","articleId":266956},{"headers":{"creationTime":"2018-11-06T17:19:56+00:00","modifiedTime":"2019-01-04T19:50:59+00:00","timestamp":"2022-09-14T18:17:00+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Film","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33749"},"slug":"film","categoryId":33749}],"title":"Types of Shots in Filmmaking and How to Frame Them","strippedTitle":"types of shots in filmmaking and how to frame them","slug":"types-of-shots-in-filmmaking-and-how-to-frame-them","canonicalUrl":"","seo":{"metaDescription":"Learn how to frame shots for your digital film. Using the Rule of Thirds, wide shots, midshots, and close-up shots, you can add variety to your digital film. Dummies.com offers tips to improve your digital filmmaking skills.","noIndex":0,"noFollow":0},"content":"In this video, you learn about the rule of thirds for framing digital video shots and gain a better understanding of the types of shots in filmmaking you can take from extreme wide shots to extreme close-ups. The rule of thirds, although not a rule that can't be broken in filmmaking, is all about how to frame a shot or where to place the subject in the scene.\r\n\r\n<div class=\"video-player-organism\"></div>\r\n\r\nTo understand the rule of thirds, visualize imaginary lines crossing your viewing area. When placing your subject in the scene, you place them on one of the intersecting lines. For a vertical shot like the one shown in the video, you place the subject on one of the vertical lines. For a horizontal shot, you would place the subject on one of the horizontal lines, making sure that the focal point (what your audience is looking at the most) is where the lines intersect.\r\n\r\nWhen taking shots in filmmaking, you have several types to choose from, depending on how far away or close you want the subject to appear in your digital film. A wide shot, also known as a long shot, shows more of the surrounding scenery or a wider view. A mid shot or medium shot is commonly used for television shows and is good for showing hand movements and facial expressions. A close-up is great for capturing facial expressions and emotions in your digital film. Close-ups, like the one in the video, often show just a subject's face. Extreme close-ups in filmmaking show strong emotions and fine details (like wrinkles or skin flaws).\r\n<h2 id=\"tab1\" >How to use the rule of thirds in digital filmmaking</h2>\r\nFraming shots for your digital film is not just about pointing a camera at a subject and pressing a button. You should take time to <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/a-filmmakers-pre-shooting-checklist/\">consider the best way to frame your shot</a> — <em>every</em> shot — because doing so will always pay off in the final edit.\r\n\r\nThe <em>rule of thirds</em> is one of the most basic and important rules to remember when shooting your film. It’s not really a “rule” in the strict sense, and you won’t be arrested for not using it, but it does make your shots look better.\r\n\r\nThe <a href=\"https://www.dummies.com/photography/digital-photography/use-the-rule-of-thirds-in-photography/\">rule of thirds was first used in paintings and photography</a> and then later in film and TV. Instead of placing subjects in the middle of the frame, artists, photographers, and filmmakers use the rule of thirds to position their subjects and actors to make the shot look more interesting. Here’s how the rule of thirds works.\r\n\r\nEach of the images below is an identical shot of one of our actors. The second frame has been divided into thirds, horizontally and vertically: three sections across and three sections down. This is where you get rule of <em>thirds</em> from.\r\n\r\n[caption id=\"attachment_257011\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257011 size-full\" src=\"https://www.dummies.com/wp-content/uploads/rule-of-thirds.jpg\" alt=\"rule of thirds shooting video\" width=\"535\" height=\"149\" /> Using the rule of thirds.[/caption]\r\n\r\nThe goal in this shot was to draw attention to the actor’s eyes, so the shot was framed with the eyes two‐thirds of the way up the frame and two‐thirds of the way across the frame.\r\n\r\nThis leaves the actor positioned more to the right of the frame. You could move her more to the left instead, but because the actor is already looking to the left of the frame, positioning to the right is the preferred choice. It’s better to leave some open space for the actor to look into. As you can see, moving the actor over to the left of the frame looks odd and crowded, and may distract the audience from the point of this filmmaking shot.\r\n\r\n[caption id=\"attachment_257012\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257012 size-full\" src=\"https://www.dummies.com/wp-content/uploads/bad-framing-video.jpg\" alt=\"bad framing in video\" width=\"535\" height=\"301\" /> Bad framing can distract your audience.[/caption]\r\n\r\nUsing the rule of thirds is like riding a bike: It takes practice. If you use the rule of thirds often enough, framing shots this way will become natural to you, and you’ll be able to do it easily in your filmmaking without thinking about it.\r\n\r\nNext time you watch a movie, look out for the ways the director uses the rule of thirds. Sometimes you can spot moments in films where the director intentionally breaks the rule of thirds to make the shot feel awkward. (Just make sure you spot these moments quietly. Constantly pointing out awkward shots may annoy your family or friends.)\r\n<h2 id=\"tab2\" >Types of shots in filmmaking</h2>\r\nThe beauty of digital filmmaking is that you can move your camera around and change your shot types throughout a scene. Choosing the right type of shots for your film can enhance a scene’s look and build emotions and mood. <a href=\"https://www.dummies.com/photography/video/how-to-review-your-own-digital-film/\">Be sure to take time in choosing your shots.</a>\r\n\r\nA <em>wide shot,</em> also known as a <em>long shot,</em> shows your audience more of the scene you are filming. You do this by zooming out on your camera or by simply moving your camera farther away from your subject or character. Here is a wide shot; next to it is the same shot with a grid superimposed on it so you can see how it was framed using the rule of thirds. As you can see, the actor’s head is framed in the top left.\r\n\r\n[caption id=\"attachment_257013\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257013 size-full\" src=\"https://www.dummies.com/wp-content/uploads/wide-shot-video.jpg\" alt=\"wide shot in video\" width=\"535\" height=\"149\" /> A wide shot.[/caption]\r\n\r\nSome filmmakers like to start their scenes with a wide shot. When a wide shot is used this way, it’s called an <em>establishing shot,</em> and is used to show more of the location surrounding the subject or characters in your scene. Imagine you’re filming a scene, and you want your audience to know that your characters are on a beach. One way to do this in your filmmaking is to begin the scene with a wide shot showing your characters, the sky, the sea, and the sand. Instantly your audience knows the characters are on a beach.\r\n\r\nWhen framing a shot, look out for any straight lines you can find, either horizontally or vertically across the shot. Use these lines to keep your framing straight. For instance, the shot above is framed so that the horizontal line of the shot follows the line where the grass meets the trees.\r\n\r\nAn <em>extreme wide shot</em> is filmed even farther away from your subject or character — in fact, sometimes they’re not even visible in the shot. This shot is great was for filmmakers to introduce the <a href=\"https://www.dummies.com/photography/video/how-to-find-the-right-locations-for-your-digital-film/\">location of your scene</a>.\r\n\r\n[caption id=\"attachment_257014\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257014 size-full\" src=\"https://www.dummies.com/wp-content/uploads/extreme-wide-shot-video.jpg\" alt=\"extreme wide shot in video\" width=\"535\" height=\"149\" /> Get more with an extreme wide shot.[/caption]\r\n\r\nOften blockbuster movies establish the location of a scene by using an extreme wide shot that includes landmarks, buildings, or sights that the audience will recognize.\r\n<h2 id=\"tab3\" >Shooting a mid shot in your film</h2>\r\nThe <em>mid shot</em> or <em>medium shot</em> frames the characters from a space above their heads to a point roughly midway down their bodies. This shot is the most commonly used shot on TV and film because it’s great for capturing hand movements, gestures, and facial expressions. Here’s a mid shot taken from a DVD series.\r\n\r\n[caption id=\"attachment_257015\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257015 size-full\" src=\"https://www.dummies.com/wp-content/uploads/mid-shot-video.jpg\" alt=\"mid shot in video\" width=\"535\" height=\"149\" /> A mid shot for your digital film.[/caption]\r\n\r\nThe mid shot is used a lot in news reports because it focuses the audience’s attention on the upper‐half of the bodies of your characters. Because the viewpoint of a mid shot is similar to your own viewpoint when you’re having a conversation with someone, it’s also the most natural‐looking shot for an audience to watch. It’s a great shot to use for conversations and dialogue with small groups of people.\r\n\r\nA <em>two shot</em> is a mid shot used to film two characters together.\r\n\r\n[caption id=\"attachment_257016\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257016 size-full\" src=\"https://www.dummies.com/wp-content/uploads/two-shot-video.jpg\" alt=\"two shot in video\" width=\"535\" height=\"149\" /> A two shot.[/caption]\r\n\r\nA two shot is often used in TV when two presenters host a show. It can be used when you have two characters side by side sitting together or walking, or when they’re face to face at a dinner table or having coffee.\r\n\r\n<em>Over-the-shoulder shots</em> are great for conversations between characters who are facing each other. With an over-the-shoulder shot, you see both characters at the same time but only one character faces the camera as you film the shot.\r\n\r\n[caption id=\"attachment_257017\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257017 size-full\" src=\"https://www.dummies.com/wp-content/uploads/over-the-shoulder-video.jpg\" alt=\"over-the-shoulder shot in video\" width=\"535\" height=\"149\" /> Over-the-shoulder shot.[/caption]\r\n\r\nOver-the-shoulder shots are fun because they allow you to see the expressions on a character’s face. Because the character faces the viewer, over-the-shoulder shots can make the audience feel like they’re in the conversation.\r\n\r\nOver-the-shoulder shots also can be used within close‐up shots to capture more expression from your character and to build emotion.\r\n\r\n[caption id=\"attachment_257018\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257018 size-full\" src=\"https://www.dummies.com/wp-content/uploads/build-emotion-video.jpg\" alt=\"building emotion with video shots\" width=\"535\" height=\"149\" /> Build emotion with your shots.[/caption]\r\n\r\nWith over-the-shoulder shots, it’s common for actors to look at the camera during filming because the camera is very close to the shoulder of the second actor. Actors looking at the camera can be distracting to the audience. One way to keep your actors from looking at the lens of the camera during filmmaking is to move the camera farther back away from the actor and then zoom in.\r\n\r\n[caption id=\"attachment_257019\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257019 size-full\" src=\"https://www.dummies.com/wp-content/uploads/actor-looking-camera-video.jpg\" alt=\"actor looking at camera in video\" width=\"535\" height=\"301\" /> See what happens when an actor looks at the camera?[/caption]\r\n\r\nSee what happens when an actor looks at the camera?\r\n<h2 id=\"tab4\" >Shooting a close‐up shot in your film</h2>\r\nBringing the camera closer or zooming into your subject or character creates a <em>close‐up shot.</em>\r\n\r\n[caption id=\"attachment_257022\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257022 size-full\" src=\"https://www.dummies.com/wp-content/uploads/close-up-shot-video.jpg\" alt=\"close-up shot in video\" width=\"535\" height=\"149\" /> Close-up shot.[/caption]\r\n\r\nA close‐up shot is a great way to show a character’s facial expressions, which can help build emotions in your film. Directors normally use close‐ups in scenes to show how a character is feeling. This degree of detail is hard to get with a wide shot or mid shot.\r\n\r\nBecause close‐up shots convey so much detail on the actor’s face, these shots can allow actors to express subtle emotions.\r\n\r\n[caption id=\"attachment_257020\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257020 size-full\" src=\"https://www.dummies.com/wp-content/uploads/close-up-emotion-video.jpg\" alt=\"building emotion with video shots\" width=\"535\" height=\"106\" /> Which emotions do you see here?[/caption]\r\n\r\nAn <em>extreme close‐up shot</em> comes in even closer to your character or subject to show an even greater degree of strong emotions or fine detail on a subject. If you want your audience to know that your character is really angry, say, you could use an extreme close‐up of the actor’s face to show the anger in her eyes.\r\n\r\n[caption id=\"attachment_257023\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257023 size-full\" src=\"https://www.dummies.com/wp-content/uploads/extreme-close-up-video.jpg\" alt=\"extreme close-up shot in video\" width=\"535\" height=\"149\" /> An extreme close-up.[/caption]\r\n\r\nYou can use an extreme close‐up for any shot in your film that requires a lot of detail. For example, if you want to show the object that your character has in his hand, you could use a cut‐in to an extreme close‐up shot of that object. A <em>cut‐in</em> is a close‐up shot used to show detail on an object or on a part of the subject already visible in the main scene. In this scene, it is important that the audience see the key being passed from one character to another.\r\n\r\n[caption id=\"attachment_257024\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257024 size-full\" src=\"https://www.dummies.com/wp-content/uploads/cut-in-shot-video.jpg\" alt=\"cut-in shot in video\" width=\"535\" height=\"149\" /> A cut-in shot.[/caption]","description":"In this video, you learn about the rule of thirds for framing digital video shots and gain a better understanding of the types of shots in filmmaking you can take from extreme wide shots to extreme close-ups. The rule of thirds, although not a rule that can't be broken in filmmaking, is all about how to frame a shot or where to place the subject in the scene.\r\n\r\n<div class=\"video-player-organism\"></div>\r\n\r\nTo understand the rule of thirds, visualize imaginary lines crossing your viewing area. When placing your subject in the scene, you place them on one of the intersecting lines. For a vertical shot like the one shown in the video, you place the subject on one of the vertical lines. For a horizontal shot, you would place the subject on one of the horizontal lines, making sure that the focal point (what your audience is looking at the most) is where the lines intersect.\r\n\r\nWhen taking shots in filmmaking, you have several types to choose from, depending on how far away or close you want the subject to appear in your digital film. A wide shot, also known as a long shot, shows more of the surrounding scenery or a wider view. A mid shot or medium shot is commonly used for television shows and is good for showing hand movements and facial expressions. A close-up is great for capturing facial expressions and emotions in your digital film. Close-ups, like the one in the video, often show just a subject's face. Extreme close-ups in filmmaking show strong emotions and fine details (like wrinkles or skin flaws).\r\n<h2 id=\"tab1\" >How to use the rule of thirds in digital filmmaking</h2>\r\nFraming shots for your digital film is not just about pointing a camera at a subject and pressing a button. You should take time to <a href=\"https://www.dummies.com/art-center/performing-arts/filmmaking/a-filmmakers-pre-shooting-checklist/\">consider the best way to frame your shot</a> — <em>every</em> shot — because doing so will always pay off in the final edit.\r\n\r\nThe <em>rule of thirds</em> is one of the most basic and important rules to remember when shooting your film. It’s not really a “rule” in the strict sense, and you won’t be arrested for not using it, but it does make your shots look better.\r\n\r\nThe <a href=\"https://www.dummies.com/photography/digital-photography/use-the-rule-of-thirds-in-photography/\">rule of thirds was first used in paintings and photography</a> and then later in film and TV. Instead of placing subjects in the middle of the frame, artists, photographers, and filmmakers use the rule of thirds to position their subjects and actors to make the shot look more interesting. Here’s how the rule of thirds works.\r\n\r\nEach of the images below is an identical shot of one of our actors. The second frame has been divided into thirds, horizontally and vertically: three sections across and three sections down. This is where you get rule of <em>thirds</em> from.\r\n\r\n[caption id=\"attachment_257011\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257011 size-full\" src=\"https://www.dummies.com/wp-content/uploads/rule-of-thirds.jpg\" alt=\"rule of thirds shooting video\" width=\"535\" height=\"149\" /> Using the rule of thirds.[/caption]\r\n\r\nThe goal in this shot was to draw attention to the actor’s eyes, so the shot was framed with the eyes two‐thirds of the way up the frame and two‐thirds of the way across the frame.\r\n\r\nThis leaves the actor positioned more to the right of the frame. You could move her more to the left instead, but because the actor is already looking to the left of the frame, positioning to the right is the preferred choice. It’s better to leave some open space for the actor to look into. As you can see, moving the actor over to the left of the frame looks odd and crowded, and may distract the audience from the point of this filmmaking shot.\r\n\r\n[caption id=\"attachment_257012\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257012 size-full\" src=\"https://www.dummies.com/wp-content/uploads/bad-framing-video.jpg\" alt=\"bad framing in video\" width=\"535\" height=\"301\" /> Bad framing can distract your audience.[/caption]\r\n\r\nUsing the rule of thirds is like riding a bike: It takes practice. If you use the rule of thirds often enough, framing shots this way will become natural to you, and you’ll be able to do it easily in your filmmaking without thinking about it.\r\n\r\nNext time you watch a movie, look out for the ways the director uses the rule of thirds. Sometimes you can spot moments in films where the director intentionally breaks the rule of thirds to make the shot feel awkward. (Just make sure you spot these moments quietly. Constantly pointing out awkward shots may annoy your family or friends.)\r\n<h2 id=\"tab2\" >Types of shots in filmmaking</h2>\r\nThe beauty of digital filmmaking is that you can move your camera around and change your shot types throughout a scene. Choosing the right type of shots for your film can enhance a scene’s look and build emotions and mood. <a href=\"https://www.dummies.com/photography/video/how-to-review-your-own-digital-film/\">Be sure to take time in choosing your shots.</a>\r\n\r\nA <em>wide shot,</em> also known as a <em>long shot,</em> shows your audience more of the scene you are filming. You do this by zooming out on your camera or by simply moving your camera farther away from your subject or character. Here is a wide shot; next to it is the same shot with a grid superimposed on it so you can see how it was framed using the rule of thirds. As you can see, the actor’s head is framed in the top left.\r\n\r\n[caption id=\"attachment_257013\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257013 size-full\" src=\"https://www.dummies.com/wp-content/uploads/wide-shot-video.jpg\" alt=\"wide shot in video\" width=\"535\" height=\"149\" /> A wide shot.[/caption]\r\n\r\nSome filmmakers like to start their scenes with a wide shot. When a wide shot is used this way, it’s called an <em>establishing shot,</em> and is used to show more of the location surrounding the subject or characters in your scene. Imagine you’re filming a scene, and you want your audience to know that your characters are on a beach. One way to do this in your filmmaking is to begin the scene with a wide shot showing your characters, the sky, the sea, and the sand. Instantly your audience knows the characters are on a beach.\r\n\r\nWhen framing a shot, look out for any straight lines you can find, either horizontally or vertically across the shot. Use these lines to keep your framing straight. For instance, the shot above is framed so that the horizontal line of the shot follows the line where the grass meets the trees.\r\n\r\nAn <em>extreme wide shot</em> is filmed even farther away from your subject or character — in fact, sometimes they’re not even visible in the shot. This shot is great was for filmmakers to introduce the <a href=\"https://www.dummies.com/photography/video/how-to-find-the-right-locations-for-your-digital-film/\">location of your scene</a>.\r\n\r\n[caption id=\"attachment_257014\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257014 size-full\" src=\"https://www.dummies.com/wp-content/uploads/extreme-wide-shot-video.jpg\" alt=\"extreme wide shot in video\" width=\"535\" height=\"149\" /> Get more with an extreme wide shot.[/caption]\r\n\r\nOften blockbuster movies establish the location of a scene by using an extreme wide shot that includes landmarks, buildings, or sights that the audience will recognize.\r\n<h2 id=\"tab3\" >Shooting a mid shot in your film</h2>\r\nThe <em>mid shot</em> or <em>medium shot</em> frames the characters from a space above their heads to a point roughly midway down their bodies. This shot is the most commonly used shot on TV and film because it’s great for capturing hand movements, gestures, and facial expressions. Here’s a mid shot taken from a DVD series.\r\n\r\n[caption id=\"attachment_257015\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257015 size-full\" src=\"https://www.dummies.com/wp-content/uploads/mid-shot-video.jpg\" alt=\"mid shot in video\" width=\"535\" height=\"149\" /> A mid shot for your digital film.[/caption]\r\n\r\nThe mid shot is used a lot in news reports because it focuses the audience’s attention on the upper‐half of the bodies of your characters. Because the viewpoint of a mid shot is similar to your own viewpoint when you’re having a conversation with someone, it’s also the most natural‐looking shot for an audience to watch. It’s a great shot to use for conversations and dialogue with small groups of people.\r\n\r\nA <em>two shot</em> is a mid shot used to film two characters together.\r\n\r\n[caption id=\"attachment_257016\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257016 size-full\" src=\"https://www.dummies.com/wp-content/uploads/two-shot-video.jpg\" alt=\"two shot in video\" width=\"535\" height=\"149\" /> A two shot.[/caption]\r\n\r\nA two shot is often used in TV when two presenters host a show. It can be used when you have two characters side by side sitting together or walking, or when they’re face to face at a dinner table or having coffee.\r\n\r\n<em>Over-the-shoulder shots</em> are great for conversations between characters who are facing each other. With an over-the-shoulder shot, you see both characters at the same time but only one character faces the camera as you film the shot.\r\n\r\n[caption id=\"attachment_257017\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257017 size-full\" src=\"https://www.dummies.com/wp-content/uploads/over-the-shoulder-video.jpg\" alt=\"over-the-shoulder shot in video\" width=\"535\" height=\"149\" /> Over-the-shoulder shot.[/caption]\r\n\r\nOver-the-shoulder shots are fun because they allow you to see the expressions on a character’s face. Because the character faces the viewer, over-the-shoulder shots can make the audience feel like they’re in the conversation.\r\n\r\nOver-the-shoulder shots also can be used within close‐up shots to capture more expression from your character and to build emotion.\r\n\r\n[caption id=\"attachment_257018\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257018 size-full\" src=\"https://www.dummies.com/wp-content/uploads/build-emotion-video.jpg\" alt=\"building emotion with video shots\" width=\"535\" height=\"149\" /> Build emotion with your shots.[/caption]\r\n\r\nWith over-the-shoulder shots, it’s common for actors to look at the camera during filming because the camera is very close to the shoulder of the second actor. Actors looking at the camera can be distracting to the audience. One way to keep your actors from looking at the lens of the camera during filmmaking is to move the camera farther back away from the actor and then zoom in.\r\n\r\n[caption id=\"attachment_257019\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257019 size-full\" src=\"https://www.dummies.com/wp-content/uploads/actor-looking-camera-video.jpg\" alt=\"actor looking at camera in video\" width=\"535\" height=\"301\" /> See what happens when an actor looks at the camera?[/caption]\r\n\r\nSee what happens when an actor looks at the camera?\r\n<h2 id=\"tab4\" >Shooting a close‐up shot in your film</h2>\r\nBringing the camera closer or zooming into your subject or character creates a <em>close‐up shot.</em>\r\n\r\n[caption id=\"attachment_257022\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257022 size-full\" src=\"https://www.dummies.com/wp-content/uploads/close-up-shot-video.jpg\" alt=\"close-up shot in video\" width=\"535\" height=\"149\" /> Close-up shot.[/caption]\r\n\r\nA close‐up shot is a great way to show a character’s facial expressions, which can help build emotions in your film. Directors normally use close‐ups in scenes to show how a character is feeling. This degree of detail is hard to get with a wide shot or mid shot.\r\n\r\nBecause close‐up shots convey so much detail on the actor’s face, these shots can allow actors to express subtle emotions.\r\n\r\n[caption id=\"attachment_257020\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257020 size-full\" src=\"https://www.dummies.com/wp-content/uploads/close-up-emotion-video.jpg\" alt=\"building emotion with video shots\" width=\"535\" height=\"106\" /> Which emotions do you see here?[/caption]\r\n\r\nAn <em>extreme close‐up shot</em> comes in even closer to your character or subject to show an even greater degree of strong emotions or fine detail on a subject. If you want your audience to know that your character is really angry, say, you could use an extreme close‐up of the actor’s face to show the anger in her eyes.\r\n\r\n[caption id=\"attachment_257023\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257023 size-full\" src=\"https://www.dummies.com/wp-content/uploads/extreme-close-up-video.jpg\" alt=\"extreme close-up shot in video\" width=\"535\" height=\"149\" /> An extreme close-up.[/caption]\r\n\r\nYou can use an extreme close‐up for any shot in your film that requires a lot of detail. For example, if you want to show the object that your character has in his hand, you could use a cut‐in to an extreme close‐up shot of that object. A <em>cut‐in</em> is a close‐up shot used to show detail on an object or on a part of the subject already visible in the main scene. In this scene, it is important that the audience see the key being passed from one character to another.\r\n\r\n[caption id=\"attachment_257024\" align=\"aligncenter\" width=\"535\"]<img class=\"wp-image-257024 size-full\" src=\"https://www.dummies.com/wp-content/uploads/cut-in-shot-video.jpg\" alt=\"cut-in shot in video\" width=\"535\" height=\"149\" /> A cut-in shot.[/caption]","blurb":"","authors":[{"authorId":9125,"name":"Nick Willoughby","slug":"nick-willoughby","description":" <p><b>Nick Willoughby </b>heads Filmmaking For Kids and Film Future, a pair of programs designed to teach kids aged 7&#45;16 the various aspects of filmmaking. 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Film Articles

Welcome to the world of cinema. Sit back and watch something that moves you, or get up and make a movie of your own. Here's the info you need!

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Film Digital Filmmaking For Kids For Dummies Cheat Sheet

Cheat Sheet / Updated 04-12-2022

Digital filmmaking is the process of creating and telling a story or presenting information through the art of film using digital video cameras. Basically, it’s a way creative people like you can turn the ideas in your heads into films audiences can watch on movie screens, TVs, or computers. You can assemble a team to create your film, audition and hire actors, and then shoot your film. Afterward, you can edit your film using commonly available editing software.

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Film Filmmaking For Dummies Cheat Sheet

Cheat Sheet / Updated 02-23-2022

The responsibilities of a filmmaking team can be compared to those of the host of people needed to pull off a fine dining experience from the director/chef to the production assistants/servers. As a filmmaker, you have to be organized enough to know what you need to have in order before you start and what to bring to a location shoot. And, if you can get high production values in your movie for little money, you’ll be all the more successful.

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Film Screenwriting For Dummies Cheat Sheet

Cheat Sheet / Updated 11-30-2021

Screenwriting requires that you adhere to specific script formatting standards. As a screenwriter, you also need to know basic camera directions so that you can included them in your scripts, and you need to write interesting characters to drive your story forward. Most producers give a script the five-and-dime treatment, meaning they’ll read the first five pages and the last ten to assess whether a movie is for them. They’re primarily looking for scripts that are between 90 and 120 pages with a compelling hook and a clear sense of style and/or genre. Format is one way to convey those things efficiently.

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Film Bollywood For Dummies Cheat Sheet

Cheat Sheet / Updated 04-20-2021

Bollywood is one of the largest film industries in the world and is chock-full of colorful characters, talented actors and actresses, epic song and dance numbers, elegant fashion, and memorable dialogue. The largest movie industry in the cultural mecca that is India, Bollywood has innumerable surprises and layers of fun for any fan to unpack. Even avid Bollywood fans are constantly discovering new corners of this marvelous film industry. This Cheat Sheet serves as a handy guide to give you a preview of the Indian subcontinent's world of cinema.

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Film 10 Tips for Shooting on Your Smartphone

Article / Updated 12-30-2019

Today’s smartphones are so sophisticated, and the technology so advanced, you can shoot a professional looking short movie, or even a full-length feature on your smartphone. Your phone probably shoots 4K broadcast quality images — something that many older expensive video cameras can’t even do. Some of the advantages to shooting with your smartphone include: You just point and shoot. You don’t have to fuss with bulky movie lenses. No manual F or T stops to deal with. No depth of field or focus headaches. No exposure issues. No need to lug around a heavy, bulky camera. Your phone is always with you — ready to capture that million-to-one encounter or shoot that on-the-spot great idea. Shooting in Landscape The first thing you have to remember is you’re shooting a movie, not a photo, not a selfie, and not something you’re just going to post to Facebook or Instagram. So, you now have to remember to turn your smartphone sideways. This is called landscape mode. The normal way you’re use to holding your phone is profile mode. Note that landscape mode resembles the dimensions of your 16x9 TV. Note also that when you watch YouTube videos or feature films on your smartphone, you turn it sideways for the image to fill the whole screen. If you don’t shoot your movie in landscape mode, you’ll have black bars on each side of the image, and your movie will not fill the entire screen. So, landscape, don’t profile! Always make sure your smartphone is charged and ready to go. Shooting video on your phone drains the battery faster than talking or listening to music on your phone. Take Off with Airplane Mode You’re moving in for the perfect shot, the actors embrace, and you’re capturing a priceless moment — and then your perfect shot is interrupted by your phone ringing — your camera is ringing! “Cut! Hello? Hi mom, I’m busy, shooting my movie.” It’s happened to me. Go into your phone settings and put your phone on airplane mode. All the functions of your phone will work except your shoot won’t be interrupted by another phone call or annoying text. You want your smartphone to be a 100-percent dedicated camera for your shoot, not a communications device. Steady as She Goes Your smartphone is already a sophisticated movie camera. Most smartphones have a built-in stabilizer to ensure steadier shots. Often, you can handhold your smartphone for many of your shots, especially moving or following shots. Steady as a Rock For steady tripod shots, you can get special adapters for your phone that have a tripod mount, so you can attach the phone to a tripod for rock-solid shots or for smooth panning ones. You’ll find plenty of smartphone tripod adapters on Amazon for as low as $5. Shooting Format and Resolution Before you start shooting with your smartphone, you need to go into your camera video settings. You will have a choice of resolution quality. Usually the options are 720, 1080 (2K) and 4K. I’m sure that 6K and up will soon be available for your phone. I recommend shooting on 720 or 2K because the quality is awesome and both resolutions are broadcast quality. If you shoot in 4K, you will very quickly eat up a lot of storage space on your phone. In the video settings, you should also have the choice of shooting at 30 frames per second or 24 frames per second. Choose 24fps for a more film-like look. A great smartphone app called Filmic Pro will add even more professional shooting options to your already advanced smartphone. Saving Your Movie Files Depending on your smartphone’s built-in storage capacity — or if your smartphone has a removable SD memory card — you will have to constantly offload (transfer) your shots to an external hard drive or your computer. If you don’t, your phone’s memory will soon fill up and you will have no more room to shoot anything. Some smartphones connect to your computer via USB and allow you to download your footage this way. An iPhone allows you to wirelessly download your footage from your phone using Airdrop. This allows you to easily and effortlessly download your footage, which then you can erase (trash) off your phone and continue shooting. There’s also a great (free) app called Simple Transfer, which is absolutely one of my favorite apps. It lets you view all your phone’s photos and movies on your computer desktop, and you can choose which shots you want to download from your phone to your computer in one batch — so you don’t have to transfer one shot at a time. I absolutely love this app so much it’s on my phone’s main home screen. Many smartphones are now synced up with the cloud, so, chances are, your smartphone footage will automatically download to your computer if both are talking to the cloud. I can’t emphasize this warning enough. If your phone is talking to the cloud and your footage is automatically downloaded to your computer, be absolutely sure to move those shots (digital video files) to a separate folder outside your camera roll. If you don’t, they will all get erased in the cloud when you erase them off your phone. They will also get erased off your computer and any other device that also talks to the cloud. This is one major flaw of syncing with the cloud — most people think they can trash stuff on their phone to free up memory because it was transferred to their computer and lives in the cloud, but in reality, your computer is talking to the cloud and unless you transfer it out of your camera roll into a folder on your desktop, you’ll lose everything. All your movie files will be saved to your camera roll in your phone and filed under Videos. But move your movie shots out of the camera roll into a special folder that isn’t mirroring your camera roll in the cloud. Miniature Camera Equipment The great thing about your movie camera being your smartphone is that everything is light and portable. Your phone is also small enough to mount on a car dashboard or adhere to the car window (on the inside) for great single shots of your driver and passenger or a nice two shot from inside the windshield. Or, turn your phone around so it’s looking out your windshield for a nice POV (point-of-view) shot of the road. Use a selfie-stick as your camera crane for high shots or low to the ground shots. (See the following figure.) Cut a slot out of a paper cup to make a tripod to hold your phone — this also works great as a dolly, too — and just slide the cup along a desk top or the floor. Try furniture sliders to slide your smartphone along carpets or hardwood floors for smooth dolly shots. If you want professional-looking dolly shots, check out Dyno Trek. It’s a miniature, motorized dolly system (also called a slider system) built just for smartphones. It comes with tracks that magnetically hook together for flawless, smooth movement. You can dolly in and out and side to side, or turn the track vertically and get dolly-up and dolly-down shots. You can program the speed of the dolly and even set it up to move in sync with your smartphone for time-lapse shots or stop-motion animation. The kit is lightweight and portable and comes in a sturdy carry case. If you have an older smartphone that you put away after you bought the latest and greatest upgrade, it may be time to dust it off. Even though cellular service isn’t activated on your old phone, all its camera functions should be working fine. It’s really an iPod without cellular service. But you still have Wi-Fi! This old smartphone can be used as your action backup camera (make sure it’s not a big deal if this extra phone gets damaged or destroyed). Place it in the middle of a quiet neighborhood street and have your actor in a car drive over and past the camera. Just make sure he knows to keep the smartphone between the tires! Secure this “B” action camera on the outside of your car for some dramatic driving shots. You can even find a car suction cup mounting device for your smartphone on Amazon — or, just use lots of masking tape on the phone to secure it. (I recommend tying the phone down securely — just in case. The wind could catch it and send it flying!) Throw the phone in the air to a friend to simulate the POV of a ball being tossed back and forth. I recommend doing this on the grass in case one of you misses a catch. Use Several Smartphones to Capture Your Movie Pretty much everyone on your crew (even if there’s just two of you) has a smartphone, so any one of these could be used as a second or third camera on your shoot. If you have two actors talking, you can save time by having one smartphone on each actor, instead of using one camera to shoot each actor separately. You can also use an extra smartphone for your wide shots, and another for close-ups (just don’t get the phones used for close-ups in the wide shot!) Apple’s iPhone 11 Pro was the catalyst for the creation of a new triple-camera system that allows users to shoot multiple different-size shots at the same time with just one smartphone camera. This iPhone has three different lenses: a telephoto lens, a wide lens, and an ultra-wide lens. Using a revolutionary app developed by Filmic Pro through the App Store, each lens can record its own file — thus creating three different-sized shots at one time. It’s like three cameras rolled into one smartphone. It’s also invaluable for documentaries and spur-of-the-moment events. Another ingenious advancement with the Filmic Pro app, is the ability to use the iPhone Pro 11 to shoot an interview in which both the interviewer and the interviewee are filmed at the same time. The app records footage from both the front and back camera at the same time and creates two separate digital files. So, you don’t have to have two separate cameras to shoot your interview! This unique technology is absolutely a game-changer for the independent filmmaker shooting with an iPhone and the Filmic Pro app! For more great tips and a fun book that converts into a smartphone projector with speakers, includes ticket stubs to your premiere, and even has popcorn boxes — check out my book, Smartphone Movie Maker at Amazon and other fine bookstores near you! Great Sound on Your Smartphone Too! Not only can your smartphone shoot great, broadcast-quality digital images, but it also gives you pristine digital sound recording. To get the best of this, plug in a professional directional microphone. You don’t want to use your built-in smartphone microphone because it only picks up good sound close to the phone, or ambient sound from all around your environment. Some wireless sound options can record sound directly into your smartphone without the hassle of tripping over wires. Røde makes the Wireless GO, which is perfect as a wireless, compact microphone for your smartphone shoot. Your Smartphone Is an Entire Production Studio Your smartphone gives you a camera to shoot your movie, and it can give you great sound. But that’s not all. You pretty much have an entire production studio in your pocket! You can even write your screenplay on your smartphone with the Final Draft app for under $10. Storyboard on your phone with certain storyboard apps like Blocker by AfterNow (an absolutely amazing 3D app) and Storyboard Animator for free. You can create a shot list on your phone with an app called Shotlist – Movie Shoot Planning. You can also download stock footage and sound effects right to your phone. In post-production, edit your entire movie on smartphone apps like the free iPhone version of iMovie or a myriad of Android editing apps. And, when you’ve completed your movie, use your phone to upload it directly to YouTube or Vimeo!

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Film Secrets to Entering and Winning Film Festivals

Article / Updated 12-30-2019

The secret to entering film festivals is what I call entry etiquette. Winning is beyond your control, but following the basic rules I describe here brings you closer to that win. Don’t take it personally if your movie doesn’t make it into a festival. With many festivals receiving thousands of submissions annually, a film can easily be overlooked. Sending a work-in-progress — Don’t! Even though some festivals accept works-in-progress, you’re just donating your entry fee to the festival when your movie doesn’t get selected because it isn’t finished. I’ve made this mistake before and want to warn you to avoid it. Wait until your movie is completed — including music and sound mix — before you submit it for consideration. Many filmmakers eager to make the deadline for the big festivals like Sundance and Toronto end up sending a work-in-progress. But the festival selection committee rarely gives an uncompleted film the benefit of the doubt. The unfinished film is viewed alongside completed films and usually loses out. Submitting a work-in-progress wastes your time and money — and the festival’s time as well. Entering the right festivals for your film Your film is in the can, or in the digital realm, and you can’t wait to send it out and start collecting invitations to all the great film festivals. But wait: You have to choose carefully which festival is best to enter. You can start by going to Film Freeway for up-to-the-minute information about film festivals, including entry details and deadlines. Also, going to a film festival’s website enables you to get updated information, including entry rules and regulations. Note that most film festival websites have the extension .org, not .com; many festivals are nonprofit organizations. Film Freeway has become the norm for submitting to virtually any film festival in the world (more on this later in the chapter). So how do you decide which festival is right for your movie? Think about your intended audience. If your movie is a mainstream piece that Star Wars or Avengers audiences would love, it isn’t exactly Sundance Film Festival fare; Sundance often looks for offbeat or controversial films. If your film is about an escaped convict who kidnaps grandmothers, it isn’t going to be accepted at a children’s film festival — unless it’s a comedy, and the heroes are an odd gang of misfits. But don’t enter just one festival — that’s like putting all your eggs in one basket. Instead, choose wisely and be selective, with good insight, how many and which festivals (and categories within) seem appropriate for your film. The following is a list of ten top film festivals, in order of popularity, to consider for your film. The list is a compilation of my favorites, including first-film and independent film-friendly festivals and a family festival dedicated to those rare independent family-produced films. The Sundance Film Festival takes place in Park City, Utah, in January, with an entry deadline in early October. This is the festival of festivals, established by actor Robert Redford and named after one of his favorite classic films, Butch Cassidy and the Sundance Kid. (That’s why he’s often still referred to as the Kid.) Sundance has become one of the toughest festivals to get a film accepted at. The festival is overloaded with submissions, and a film has to have a sophistication that Sundance audiences and judges have become accustomed to. The festival favors independent films. If your film gets accepted for screening, that’s almost as good as winning — being accepted carries a lot of merit. But it’s a tough one, so don’t rely on Sundance to be your film’s festival premiere. For information, go to www.sundance.org/festival. The Toronto International Film Festival takes place in Toronto, Ontario, Canada, in September, with an entry deadline in April/May. This festival has been around since 1976 and is considered the second most popular among the elite film festivals, after Sundance. Films are judged on artistic values and subject matter, similar to the Sundance Film Festival. Independent films are especially welcomed. Like Sundance, this festival is also difficult to get into and has become a lot more commercial over the years with a lot of major studios and movie stars premiering their new movies. Go to tiff.net or phone 416-599-8433. Telluride Film Festival takes place in August/September in the mountain village of Telluride, Colorado, with an entry deadline in April/July. The festival is for real movie lovers and accepts all types of films as well as experimental, first-film, and artsy styles. A lot of gems have been discovered at Telluride. Go to telluridefilmfestival.org or phone 510-665-9494. WorldFest Houston is in April, with an entry deadline in February. Like many of the other festivals, it accepts digitally finished films transferred to Blu-ray or DCPs for best quality projection. The festival accepts a wide array of styles, from films with wide commercial appeal to experimental short films, and welcomes family-friendly films as well. This is one of the world’s oldest film festivals (since 1961). Even Steven Spielberg won an award in his early career at WorldFest — as did George Lucas, the Coen Brothers, Oliver Stone, and Robert Rodriguez. This is one of my favorite festivals, run by J. Hunter Todd with Kathleen Haney. They truly respect and love the independent filmmaker. It’s also a really fun festival to attend with lots of things to do, including a boating excursion. For information, go to worldfest.org or phone 713-965-9955. Cannes Film Festival takes place in May in the breathtaking city of Cannes, France, with an entry deadline in March. The Cannes Film Festival is in the elite company of Sundance and Toronto. It carries a different sophistication and is run with the international elegance of a European gala event. The festival accepts higher-profile films, especially with an international flair. Go to festival-cannes.com or email [email protected] Sedona International Film Festival is another one of my favorite festivals, which takes place in the magical and breathtaking elevations of Arizona surrounded by the colossal red rocks of Sedona. (See the following figure.) The festival, which runs for nine days every February, welcomes all kinds of films and filmmakers. Festival director Patrick Schweiss is one of my favorite festival directors. If your film is selected for the festival, Patrick will welcome you with open arms, possibly provide you with free accommodations during your stay, and will be almost as excited about your film being in the festival as you are! The festival accepts all genres, including a special award category for Best Family Film. Check out sedonafilmfestival.com or phone 928-282-1177. Burbank International Film Festival takes place in September, in Burbank, California (just a few miles from Warner Bros. studios), with an entry deadline in April. The festival accepts most styles of films, especially independent films and films from new and up-and-coming filmmakers. The festival runs for five days and includes seminars with industry professionals and celebrities. Go to burbankfilmfest.org or phone 818-601-2082. Slamdance Film Festival takes place in January, with an entry deadline in October. Slamdance was created in 1994 to catch the spillover of films that don’t get accepted into Sundance. It’s very much a festival for independent filmmakers and first-film entrants who find themselves left out in the cold — even though they have a film that an audience would appreciate and enjoy. Go to slamdance.com or phone 323-466-1786. Heartland Film Festival takes place in October in Indianapolis, and is also known as a very family-friendly festival. So, if your film is family-oriented, this is one of the best festivals to submit to! Go to heartlandfilm.org/festival. Dances with Films takes place in July, in Los Angeles, California, with an entry deadline in April/May. Also known as the “Festival of the Unknowns,” this festival boasts that it features films with no-name directors, actors, and producers. It was originally established to get away from the politics of other film festivals. It’s very first-film friendly and welcomes independent films with great stories. Go to danceswithfilms.com or phone 323-850-2929. The microphone and audio company Røde has their own film festival. The competition, called My Røde Reel, accepts short film entries that used Røde microphones for their production audio. Røde offers over a million dollars in prizes. The requirements state that your film can be up to three minutes long, that you shoot a behind-the-scenes video showing the actual production being shot, that you feature your Røde product or products in your behind-the-scenes footage, and finally, that you upload it to the Røde website. When deciding which festivals to enter, keep in mind deadlines and entry fees are subject to change, so always visit the festival’s website or call ahead. Questions are usually answered quickly via email. You should also find updated info on most festivals on the Film Freeway website as well. Choosing the appropriate genre and category After you’ve selected the right film festival, you have the dilemma of entering in the correct genre and category (explained in detail in Chapter 2). If you choose incorrectly, you could blow your movie’s chances of winning or placing. Some festivals allow you to enter several genres for this reason — very helpful if you can’t decide exactly which genre your movie fits into. Is it a comedy, drama, science-fiction, or fantasy? A combination of several genres? If you don’t know your film’s genre, who does? Usually, the judging committee won’t correct your mistake if you enter under the wrong category. It has too many entries to weed through. If you’re undecided, call the festival and ask its opinion. You can also screen your movie for friends and ask what category they feel your film falls into. Along with knowing the genre your movie falls under, you have to choose the correct category, which is usually one of the following: Animation: Utilizing traditional drawings, stop motion (like Gumby and Pokey or Coraline), or digital computer-generated images (like Toy Story or Frozen). Commercial: A 30-second to 1-minute commercial whose purpose is to sell a product or idea. Documentary: A behind-the-scenes nonfiction (sometimes controversial) production that makes a statement and features the real side of a person or event. First feature: Your first attempt at a feature-length film (at least 90 minutes) with a cohesive story. Independent film (low-budget): A feature-film length production produced with limited funds and independent of a major studio or distributor. Public Service Announcement (PSA): A 30-second to 1-minute commercial making a statement about health issues, environmental issues, or any subject matter that promotes a better society. Short film: Usually under 30 minutes. Encapsulates a complete story with developed characters within a shorter running time. TV movie: Usually slotted within a two-hour time period on a TV network. Produced specifically for the small screen (TV) keeping in mind the TV censors with regard to subject material. TV program: Usually runs within a one-hour time slot. Can be a variety program (such as America’s Got Talent), a reality show (like Keeping Up with the Kardashians — or is it Putting Up with the Kardashians?), or a one-hour drama show. Some festivals accept screenplay submissions as well. So if you have an unproduced screenplay that you’re proud of, submit it to the appropriate festival. I entered my original screenplay Undercover Angel in the Santa Clarita International Film Festival (which became the International Family Film Festival), and it received an award certificate. I then put the award logo on the screenplay to show that it was an award-winning script, which gave the screenplay credibility and raised interest in the project. (The film was produced and released successfully a year later!) A few years later, I submitted my screenplay First Dog to WorldFest in Houston, and it too won a screenplay award — which was a catalyst in getting that film produced as well. Writing a great synopsis of your movie Just like when you had a carefully prepared pitch to sell your movie idea to an investor or distributor, you need to pitch an intriguing synopsis of your movie that will convince the festival screeners to consider your film for their festival. If you write a boring synopsis, they will anticipate a boring film. Picture perfect: Selecting the best photos from your film Photos from your movie are an important marketing tool. Film festivals request still photos from your movie to use in their brochures and marketing materials — should your film be accepted. A picture always draws the reader’s attention to an article and helps the reader to understand and remember the material more than with no photograph. Make sure that you have photos taken on the set. Submit photos that best represent your movie, such as an interesting confrontation between your actors, or something that causes an emotion in the viewer. If you have any name stars, then make sure they’re in the photos. When you send photos from your film to a film festival, be sure to label each photo with the name of your movie. Identify the scene and the actors in the photo with a caption. If the festival people decide to publish the photo in their publicity ads or festival program, they need to have this information clearly marked. Most festivals accept digital photos through email, or the festival can download the photos from Film Freeway’s entry site if you’re a member and uploaded your publicity photos there. Submitting the best format securely Only a few years ago, if you completed your movie on analog or digital videotape (as opposed to cutting on film for release in theaters), you were out of luck when it came to having a festival show your movie. If a festival accepted your movie for screening, you had to provide a 16mm or 35mm film print. Many independent filmmakers were knocked out of the game because their finished projects were on tape or digital files only. You could always transfer your finished video product to motion picture film, but that process was lengthy and expensive and the picture quality would suffer from magnifying grain and imperfections, depending on the quality of the original footage. Now that digital filmmaking has come into its own, all film festivals have video projectors that can project virtually any form of video such as digital files, DVD, and Blu-ray. The bigger festivals also have the capacity to project your film if you provide an external hard drive in the form of a DCP (digital cinema package). Independent filmmakers can now receive equal consideration regardless of whether their project is shot and finished on an inexpensive digital DSRL camera or a professional $100,000 digital cinema camera. Blu-ray or a DCP is the favored format when using a video projector. A Blu-ray can be excellent picture quality if it’s authored and burned properly. Burning your projects onto DVDs or Blu-ray with most computers is easy and inexpensive. A popular software application that burns DVDs and Blu-ray discs easily is Toast by Roxio. It also lets you author your disc with customized menus. You can do lots of other things with the Toast software, like convert formats and even encrypt files. Entering onto the Film Freeway The traditional way of entering a film festival consists of filling out an entry form and mailing it in with your film submission (usually in the form of a DVD screener or, more acceptable, a private online screener) along with your entry fee and supporting materials (still photos, synopsis, and so on). A unique company, Film Freeway, has simplified the film festival submission process for the filmmaker. Film Freeway is a unique service that creates a direct link between the filmmaker and the film-festival circuit by allowing you to submit your film entry online to thousands of film festivals of your choice worldwide and hassle-free. Under their online private screener service, Film Freeway even gives you the option to upload a copy of your movie that can be accessed by the film festivals you choose. You can also provide a Vimeo link, if you have your film on Vimeo. Create a password so only the festival with your private password can view your film. Online film submission is especially invaluable when you’re submitting to more than one festival. Most film festivals accept, and encourage, filmmakers to use Film Freeway. It has become the traditional (and most convenient) way to enter film festivals. Film Freeway collects all the necessary information from you online and then inputs it into the entry forms of all the festivals you want to enter. Your information is customized to each festival’s distinct entry form. This saves you from entering the information every time on individual entry forms for each festival you want to enter. Film Freeway enables you to do a vast search on the site to find the most suitable festival for your movie, enter multiple festivals, upload scanned publicity photos from your movie, and track your entry submissions. Using Film Freeway is free; you only pay each festival entry fee and the cost of shipping a DVD screener of your film (if you don’t upload your movie with a private link). Film Freeway is also working on a service to provide filmmakers the ability to make their own DCP (digital cinema package). This is huge! Sign up for a free account at Film Freeway, and they will notify you with updates on their DCP news as well as keep you up to date on film festival dates and schedules. Getting an entry-fee discount Pretty much every film festival in the United States charges an entry or submission fee, which can range from $20 to $200. Then, if you win, some festivals charge you extra to purchase an award statuette or certificate! Some film festivals offer entry discounts to students and independent filmmakers. Calling and asking about available discounts is a good idea. Festivals know that most independent filmmakers are tight on funds, so many will consider a discount on your entry if you ask — especially if you submit early. Many festivals reward you with an entry discount if you submit your movie early. It’s an incentive to filmmakers to not wait until the last minute. The festival judges need lots of time to sort through and review thousands of films submitted each year. The discount is usually mentioned on the entry forms or festival website and through Film Freeway’s site when you’re researching which festivals you’re thinking of entering.

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Film Filmmaking and Makeup Special Effects

Article / Updated 12-30-2019

Special effects aren’t just limited to illusions that look real only through the camera lens or after the postproduction stage of your film. Makeup is make-believe that can walk and talk without the magic of the camera but through the magic of talented makeup artists. Many people think of beauty makeovers when they think of makeup artists. You don’t normally think of monsters, alien creatures, and flesh wounds — but the world of the makeup artist is a broad one. Applying prosthetics Prosthetics is a term associated with artificial limbs. In the world of special effects makeup, however, prostheses are used to create additional limbs, burn victims, and monster effects (often all the sick, gross stuff). Prosthetic pieces, also called appliances, are usually made of foam latex, which can move much like human skin and muscles. Makeup effects artist David Miller designed the conehead makeup for Dan Aykroyd and the entire Conehead population in the film Coneheads. He also designed Freddy Krueger’s makeup for the Nightmare on Elm Street films. (Miller was working late one night trying to decide on the look of Freddy Krueger and glanced down at his melted cheese pizza — inspiration hit!) By gluing latex prosthetics in sections over his face and head Christian Bale was completely unrecognizable as Vice President Dick Cheney in the film Vice. You can also do mechanical makeup effects, like a head-cast made from an actor with features added to a fake head. I made a cameo appearance as a werewolf in one of my short films several years ago. My sister Marlene, a professional makeup artist, and makeup artist Jack Bricker took a cast of my head by pouring plaster over my face, leaving straws in my nostrils so I could breathe (that was the only time in my life that I’ve ever been plastered). When the plaster dried, they used the mold to design the werewolf head in latex and added hair and an extended muzzle to the dummy head. To save time and money, they only made a half-head because the final shot was a profile, and the camera would never see the other side. Here’s looking at scleral lenses Remember Michael Jackson in Thriller with the devilish eyes? Jim Carrey’s strange eyes in The Mask, and The Grinch? What about the White Walkers with the ice-blue eyes in Game of Thrones? The apes with the black eyes in Stanley Kubrick’s 2001: A Space Odyssey? The actors all had to wear special contact lenses. These special lenses are called scleral lenses, which have funky pupil designs and are fitted to cover the actor’s eyes like conventional contact lenses. Linda Blair wore scleral contact lenses for The Exorcist and then again when I revisited her possessed state in my comedy spoof The Linda Blair Witch Project (see the following figure), where she finds out she’s possessed by famous comedians (did you know that possession is nine-tenths of the law?). You can stream my short on YouTube. Be sure to purchase scleral lenses from an optometrist or from eyewear specialists like Dr. Morton Greenspoon and Dr. Richard Silver, who have designed and provided special scleral lenses for many Hollywood blockbusters (including The Grinch and Men in Black). Although specialty stores, especially during Halloween, carry designer effects lenses, you don’t know if they’re made by a reputable company, and the lenses aren’t fitted to your particular eye shape. Not only could they cause discomfort or infection, but worse, damage to your cornea. Always consult an ophthalmologist before putting anything in your eyes! Take a bite out of this Another skill of the special-effect makeup artist is designing and creating teeth that fit over the actor’s own bite. A mold is taken of the actor’s real teeth — very similar to how a dentist takes a mold impression to fit you for a crown or veneers. The artist then sculpts a new set of molars — from ghoulish monster or vampire teeth to rotten buck teeth like Austin Powers. Refer to the preceding figure for an example of vampire teeth that fit over the actor’s own incisors. Pulling out your hair with lace hairpieces Lace hairpieces, including beards and mustaches, are used on almost every movie, and quite often on the main actors. Sean Connery wore a lace hairpiece throughout all his James Bond movies. You’ve often seen actors that you know are bald in real life sprouting a beautiful head of hair for their latest starring role. Even actors with hair have been known to wear lace pieces when they are becoming a different person on screen, as, for example, Tom Hanks playing Fred Rogers in A Beautiful Day in the Neighborhood. Lace hairpieces are created by a specialty makeup and or hair artist. Ron Wolek designed and meticulously punched one hair at a time into a piece of lace netting for Ed Asner’s Santa Claus beard in my film Santa Stole Our Dog. Real hair or yak hair is often used. The weaved hair tied into the netting is then cut and shaped like a real haircut, or trimmed into a beard or mustache (often on a mannequin head so the actor doesn’t have to sit there for a long period of time).

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Film Editing Your Movie: Putting One Frame in Front of the Other

Article / Updated 12-30-2019

Editing is more than just piecing together shots into scenes. Understanding the story and the best way to tell it is an art. Editing controls the feel of your film and can make or break the illusion. To edit well, you need to know on what frame to start your shot and on what frame to end it, when to cut to the reaction shot (a visual response from another actor in the scene), and when to stay on the main character. Some of the elements you need to consider when editing are Pacing: The length of shots and scenes gives the entire film a pace — a feeling of moving fast or slow. You don’t want your film to lag. Scene length: Keep scenes under three minutes if possible, so they don’t drag on and seem monotonous. Order of shots and scenes: By arranging your shots in a particular sequence, you can dramatically affect a scene’s meaning. See the later section “Linear versus Nonlinear Editing” for details. Cutting on action: Most shots cut (or edit) better on action. If your actor is opening a car door, have him or her repeat the action while you shoot it from different angles or shot sizes (such as a close-up or a wide shot). You then can overlap the shots as you cut on the motion. This is also called matching, and it helps hide the cut, making the transition appear seamless. Matching shots: You want to join static shots with static shots, and moving shots next to other moving shots. If you have a fast-paced car-chase scene and the camera is moving wildly to follow the action, a sudden static shot of a car sitting quietly at a stop light will be jarring. (Of course, that may be the effect you want.) Varying the angle and size of shots: A jump-cut happens when shots that are too similar in appearance are cut together, making the picture look as if it has jumped, or that the actor has popped from one spot to another. In order to avoid a jump-cut, you need to vary the angle and size of the next shot. One way to avoid a jump-cut is to shoot a cutaway of an actor’s reaction or of a significant object on-set that you can use to tie two different shots together. An appropriate cutaway can often save the day. Showing simultaneous action: You can cut back and forth between scenes happening at the same time. This is called cross-cutting. Or you can make a parallel cut, which is showing the simultaneous action with a split screen. This was often done on the TV show 24. Choosing the best take (or combining the best of several takes): You shoot several takes of a particular scene so that you have a choice in the editing room. Obviously, the more takes you have, the more choices. You can also combine parts of various takes — the beginning of one take, and the end of another, for example, if you have a cutaway to insert between them — to create the scene you want. Choosing an editor: Cut that out! You need to decide whether you’re going to edit the movie yourself or get a fresh pair of eyes to do it for you. Many directors avoid editing their pictures because they’re too close to the material and want to bring another perspective to the story. That’s why, on a big studio production, a picture editor starts assembling your shots and scenes together as you’re shooting, and a sound editor edits the dialogue and other sound elements. You can place an ad seeking an editor in the classified section of many film and trade magazines like Backstage (www.backstage.com) or search online at www.crewnet.com for an editor near you. Look for someone who has at least a few films under his belt and ask to see a sample of his work — does he cut scenes tight so they don’t lag? But if you’re on a small production, you’re probably your own editor. You’re in good company, though. Robert Rodriguez (El Mariachi and Sin City) prefers to cut his own films. One of the advantages of hiring an editor is that he or she can start assembling what you’ve shot immediately after the first day on the set. This means that your editor can tell you while you’re shooting whether you need extra footage: a cutaway (a reaction shot or something that helps piece two other shots together seamlessly) to make a scene work better, a close-up of some person or object, or an establishing shot (a wide shot of the location that orientates the audience to where the scene is taking place). Shooting enough coverage You need to shoot enough coverage so that you have plenty of different takes and interesting angles to choose from. Every time you add another angle to a scene, you make it more interesting and less monotonous. Using just one shot in a two-minute scene is like having a stare-down — and that’s just dull and annoying (unless it’s a bet to see who wins). The camera never blinks — that’s what cutting is for. Cutting is like blinking from one shot to the next. When you watch a play, you don’t stare at the stage as a whole the entire time; you concentrate on the individual actors as they speak, or on a prop or action sequence that catches your attention. If you don’t have time to shoot several angles, then create movement in the shot, such as having the camera follow or lead your actors as they’re walking and talking. Make the shot as interesting as possible. Some directors shoot a ratio of three takes to get one shot (3:1), and some shoot ten or more. The editor’s job is to find the best take or to combine the best of several takes with cutaways. As you start to piece the movie together, it magically begins to take on a shape of its own, and the story starts to (hopefully) make sense. Assembling a first cut The first step is piecing together what is called an assembly cut, rough cut, or first cut. This is the most basic cut possible, showing the story in continuity (because often the scenes are shot out of order, out of continuity). Editing the visuals of your movie is very similar to writing a screenplay. The first assembly of footage is like the first rough draft, putting things into perspective and giving you a feel for your story. After you have your basic cut, you start shaping, trimming, and cutting until your film feels complete. Like dancing, there’s a rhythm to cutting — it flows, and everything feels like it’s falling into place. Don’t be discouraged if the first cut doesn’t excite you. The pacing may seem too slow, the performances may appear dull. I’ve often been disappointed with a first cut — and apparently, many big studio directors have had concerns after working on their first cuts. After your first cut, you start to get a sense of how to tighten up the picture. You start to cut out long boring exits to the door, pauses that are too long between lines, or a scene that isn’t working and that won’t be missed if you cut it out entirely. You may even want to reshoot or add a completely new scene to make the picture better as a whole. You need to do a lot of shaping and adjusting before your masterpiece shines through. It’s like molding something out of clay — you have to keep chipping away until you like what you see. Also, remember, you are seeing the movie still in its raw form because color-correction, sound effects, music score, special effects, and other elements have not been added yet. Building a director’s cut The director’s contract usually stipulates whether he gets to make sure his vision is followed in the editing room by approving the final cut of the movie. This final, director-approved cut is called a director’s cut. The director usually views an assembly, or first, cut (scenes assembled loosely in continuity according to the screenplay; see the preceding section) by the picture editor. The director then gives the editor suggestions on where to place specific shots, close-ups, and establishing shots; how to change the order of things; how to tighten a scene; and so on. Usually, a director gets a director’s cut based on his clout in the industry. Ultimately, the big studio has the final say in the cutting of a picture if the director doesn’t contractually have final cut. Steven Spielberg always gets final say because he’s earned that honor and proven himself to know what works and what doesn’t. George Lucas always has the final cut because he doesn’t report to anyone but himself! With the release of most films on DVD or streaming now, many directors who didn’t have the clout to get a director’s cut theatrically in their studio contract now have the opportunity to get a director’s cut featured as one of the bonuses on the DVD or streaming sites such as on iTunes. Chances are, you are your own studio boss, so you decide who gets final say on editing. You will probably have director’s cut because you report to yourself! Photo finish: Finalizing a final cut Many times a studio screens a version of the movie to a test audience (a group of people brought in to watch and rate the picture). The audience members fill out a questionnaire, and the studio (or the director, if they have final cut) evaluates all the comments from the screening and may re-edit accordingly. After all the editing is finished and approved, you create the final, locked picture approved by the studio — or by the director if he has the authority to make the final cut (which you probably do have if you’re an independent director). Now the postproduction work on sound begins, and the composer can start timing the scenes that will be scored (set to music). Listening to the sound editor In addition to editing the picture on your movie, you have to assemble and edit the sound elements. These elements are prepared by the sound editor, who is most often the picture editor and even the final postproduction sound mixer on an independent film. The sound elements are put onto separate audio channels (called tracks) and then mixed down into a final soundtrack that combines all channels mixed together. Some of those edited sound elements include: Dialogue (may have separate dialogue tracks for each actor) Sound effects (can have unlimited sound-effects tracks) Music (usually one or two tracks for music) Ambience (background sounds like birds chirping, an air-conditioner humming, ocean waves crashing, and so on) Dialogue editing is as important as your picture edit. The sound editor has a variety of elements to consider, such as overlapping conversations or starting a character’s dialogue over the end of another character’s shot.

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Film Film Editing on Your Computer

Article / Updated 12-30-2019

The same computer on which you write letters, organize your bank account, surf the Internet, and maybe even write your script can now easily be turned into a powerful editing machine. Most computers, both PC and Apple computers, are able to edit a movie in a nonlinear environment and are limited only by the size of their hard drives (but unlimited when using external hard drives). In nonlinear editing (NLE), you take all your separate shots, arrange them in story order, and then play them consecutively to form a scene. Every frame has its own individual set of time-code numbers (numbers generated electronically on the video image or in a computer) or edge-code numbers (numbers printed on the actual film stock) that pinpoint its exact starting and ending frames. Computer software can then generate an edit list that accurately contains the hour, minutes, seconds, and frames of your shots and identifies each cut made by the editor. With the right editing software, you have the capability to edit your movie without leaving your computer. (For technical tips on setting up your own editing studio, check out Digital Video For Dummies by Keith Underdahl, published by Wiley.) You can also purchase third-party software programs to perform additional functions like special effects, mattes, and process digital footage to look more like it was shot on motion picture film stock. Hard driving Your computer hard drive stores all your picture information. Because you’ll probably need more hard drive space than the amount that’s in your computer’s internal hard drive, you may want to purchase an external hard drive or two. An external hard drive these days is often compact — about the size of a paperback novel or not much bigger than a deck of cards. External hard drives connect to your computer via USB 3, USB C cables, or thunderbolt for speedy data transfer. Most external hard drives can be formatted for either PC or Mac platforms. The codec (digital file format) you record in will determine on how much storage space you will need on your external hard drive. Examples of certain codecs are .mov, MP4, H264, H265, ProRes 4444, and so on. Each one compresses your footage differently. Some are large files, some are small. H264 and H265 are known to compress large files into smaller files that maintain quality without much loss from image compression. When capturing or transferring high definition footage (depending on the compression), it can equate to around one gig per minute (or more if shooting above 2K) — so a 500GB external drive in high def can hold up 500 minutes. I like to use at least a 4 terabyte external drive, also known as 4TB — 4,000 gigabytes. Cutting it with editing software Without software, a computer has no personality. Add movie-editing software often known as NLE (nonlinear editing) and it becomes a complete postproduction editing suite within the confines of your desk space. You can choose from numerous editing programs on the market that allow you to affordably edit your digital footage in a nonlinear environment. Some computers even come with free editing software. Most software-editing programs use these basic components of nonlinear editing: A bin to hold your individual shots A timeline that allows you to assemble your shots in any order (it resembles individual storyboard panels placed one after another) A main window that plays back your edited footage Titling, effects and transition options All editing software accepts 2K high definition files, but many also work with digital files up to 4K resolution. 4K takes more CPU (computer power) so even if the software will edit 4K footage, make sure your computer has the right operating system, enough memory, and the correct specifications to run very large files. iMovie Many Apple computers come with iMovie, a free, simple-to-use, nonlinear editing software that allows you to cut your movie on your computer. The program also comes with over 80 music soundtracks you can use with your footage. Check out Digital Video For Dummies by Keith Underdahl (published by Wiley), which guides you through the steps of using this effective and easy-to-use software to edit your projects. An Avid Fan Avid, a name synonymous with nonlinear editing, makes the multi-award-winning Media Composer software, which works with Mac or PC platforms. The program works with high definition resolution up to 16K. Many studio feature films have been edited on Media Composer software. Avid’s software is more sophisticated than other lower-priced editing software, but it also has a longer learning curve. The software includes audio tools for post sound. It also includes titling and graphics, along with a variety of real-time effects. Avid charges a monthly or yearly subscription charge to use their editing software. Becoming a Pro with Final Cut My favorite editing program, without hesitation, is Final Cut Pro 10 (FCPX), available for use with Apple computers for $299. No monthly subscription. You own it and the free Apple support is as good as it gets. It’s a professional and powerful nonlinear software program for cutting picture (2K and 4K) as well as audio. It’s much more sophisticated than iMovie or some of the other nonlinear software, and it can produce some amazing results, including titles, effects, transitions, and color-correction. With it, you can repair shaky footage, fix many audio problems, and even create closed captions. The program also comes with an extensive sound effects and music library. This is a whole new reworking of Final Cut Pro, and for those who gave up on FCPX after FCP7 — you need to revisit this amazing software. You can even download and use it for free on a trial basis for a whole month! Check it out at the Apple App Store and download it today (if you use a Mac). This is not only the perfect nonlinear editing software for the novice independent filmmaker, many feature films have been cut using the software, including my film, Santa Stole Our Dog, which was released by Universal Home Entertainment. A lot of great tutorials on YouTube show you how effective and user-friendly Final Cut Pro X is. I won’t cut on anything else! Resolving Di Vinci Blackmagic (the ones that make the cool digital pocket cameras) also developed a widely used nonlinear editing program called Di Vinci Resolve. Depending which version you use, or whether you’ve bought a Blackmagic camera — the editing software may be free to you! Resolve also is known for its powerful color-correcting and -grading software — used by many colorist professionals in Hollywood and abroad. Wonderful Filmora Filmora from Wondershare is an affordable one-time buy of $59 NLE software that is packed with lots of power. The program is easy to learn, and you can find lots of helpful tutorials on the Wondershare website. The program has effects and transitions included. The limitation, though, is that no third-party plug-ins are made for Filmora like there are for some of the other editing programs like Final Cut Pro, Avid, and Premiere. Premiering Adobe Adobe makes popular software programs for the editing world: Adobe Premiere Pro for picture and sound editing (priced at $239 a year). Unless you edit for a living this can be very expensive because it’s a monthly and/or yearly subscription. I have edited with Premiere and definitely prefer editing on Final Cut Pro. I kept running into technical issues with Premiere and found limitations with the software compared to other editing software. Adobe also makes other software like Adobe After Effects (a powerful effects engine) that you can add to your monthly or yearly subscription. Check out Adobe’s products. KB Covers makes really cool keyboard covers, each individually customized to precisely fit over different brands of computer keyboards, including laptops and MacBooks — and are designed to work with many of the major editing software programs, like Final Cut Pro, Avid, and Premiere Pro. Chances are, they’ll have a precision fit cover for your keyboard, designed to work with your editing software. It’s like a short cut for editing, because the thin silicone cover converts your keyboard by displaying all the shortcut keys for most editing functions. These covers can definitely speed up your editing game. Simulating cinema with software Many independent filmmakers desperately want to make a movie that looks like it was shot on 35mm film — but they can’t afford the expense that comes with shooting on motion picture film stock. There are now software programs that will process your digital video footage in the postproduction phase and create the illusion (as best it can) that you shot on 35mm film. These programs emulate the characteristics associated with the look of film stock, such as grain, contrast, softness, subtle shuttle flutter, and saturated colors. The software also pulls down footage shot at 30-frames per second to emulate the 24 standard frames used with motion picture film cameras. FilmConvert is a unique software program that converts and emulates a pretty effective film-look to your digitally shot footage. Red Giant puts out software called Magic Bullet Looks that has settings to emulate particular Kodak and Fuji film stock emulsions. The software also has other color-correction presets and color-correction controls allowing you to start from scratch. Remember though, you may get close, but digital will never look exactly like film, because film is organic and digital is electronic — but advances in technology are bringing them closer. Magic Bullet Looks works with many of the popular NLE editing programs, including Final Cut Pro, Resolve, and Avid Media Composer. This neat little tip could save your production! I discovered a miraculous software plug-in call Neat Video. It is a magical plug-in that fixes dancing grain or noisy footage that appears to be completely unusable — or at least distracting to the viewer. This amazing and powerful software works with many nonlinear editing platforms like Final Cut Pro and Adobe Premiere. It saved one of my movies where some of my dark, underlit scenes had so much grain and noise they were almost unwatchable and wouldn’t have passed broadcast specifications. The Neat Video software quickly smoothed out my shots by removing unwanted grain and noise, and turned some pretty ugly visuals into images of beauty. And the shots passed the strict technical QC test to air on broadcast television and on several popular streaming platforms! Posting your production in your computer After you finish editing all the dialogue and picture elements for your movie in your computer, you’re ready to marry your picture and sound together. If the final production is going to television, DVD and digital streaming distribution (and not a theatrical release), then you can continue to do most of your final preparations in the computer (color correcting, titles, and so on). If you plan on getting a theatrical release for your picture, then you’ll need to have a DCP (digital cinema package) authored by a post-production house. Outputting your masterpiece Once you’ve completed your final cut, you then have to figure out how you’re going to get your movie out of your computer. There’s a variety of ways to output your movie. One way is to make a QuickTime file. Think of a QuickTime file as a container. It can contain different digital codecs including ProRes, H.264, and MPEG-4 MOV files. This file can be exported to an external hard drive or authored onto a standard DVD or Blu-ray disc (depending on the size of the file). Most TV networks and streaming platforms will accept delivery of your movie on an external hard drive. A QuickTime file can even be uploaded and showcased on YouTube, Vimeo, or Facebook. If you are entering your movie in a film festival, you can often upload the QuickTime of your movie to a private and secure site that the film festival uses to review entries (instead of shipping out a DVD or Blu-ray disc). If you want to export your edited movie from your computer directly to digital tape which is usually Digibeta tape (sometimes a requirement for TV broadcast or streaming platforms), then you have several options. You can rent a Digibeta tape machine and output the QuickTime file of your movie yourself, or you can take your QuickTime file to a professional post-production facility and have the people there transfer the QuickTime file to digital videotape for you. In the long run, it’s easier to have a post-production house do it, because they will guarantee it’s done right. In this day and age of entertainment outlets, things have changed exponentially in the last few years. No longer is entertainment limited to a few major TV networks. With advances in digital technology, the Internet, and the explosion of wireless communications — we have unlimited entertainment at our fingertips — literally. Netflix brought a new age of entertainment by offering tens of thousands of movies and TV series available to everyone (with a subscription) on your schedule, and at your convenience. On the heels of Netflix, we now have an explosion of more streaming platforms. Amazon Prime Video, Disney Plus, CBS All Access, Universal, Warner Bros., and even Apple are into the streaming game. I’m just waiting for an implosion. Too many services, too many series and movies. Eventually I think quantity is going to overcome quality. YouTube and Vimeo offers a platform that anyone can upload their short or feature film and can now call themselves a published artist. But looking at the big picture — all these streaming services are going to need content. Maybe this is a good thing for you! If you’ve ever had the challenge of trying to send a digital file to someone (like your special-effects guy) via email but the file was too big, here’s a little secret: Check out www.hightail.com. This site allows you to upload and download files. The cost? Files up to 100MB are free; files up to 25GB are $12 a month.

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Film Types of Shots in Filmmaking and How to Frame Them

Article / Updated 01-04-2019

In this video, you learn about the rule of thirds for framing digital video shots and gain a better understanding of the types of shots in filmmaking you can take from extreme wide shots to extreme close-ups. The rule of thirds, although not a rule that can't be broken in filmmaking, is all about how to frame a shot or where to place the subject in the scene. To understand the rule of thirds, visualize imaginary lines crossing your viewing area. When placing your subject in the scene, you place them on one of the intersecting lines. For a vertical shot like the one shown in the video, you place the subject on one of the vertical lines. For a horizontal shot, you would place the subject on one of the horizontal lines, making sure that the focal point (what your audience is looking at the most) is where the lines intersect. When taking shots in filmmaking, you have several types to choose from, depending on how far away or close you want the subject to appear in your digital film. A wide shot, also known as a long shot, shows more of the surrounding scenery or a wider view. A mid shot or medium shot is commonly used for television shows and is good for showing hand movements and facial expressions. A close-up is great for capturing facial expressions and emotions in your digital film. Close-ups, like the one in the video, often show just a subject's face. Extreme close-ups in filmmaking show strong emotions and fine details (like wrinkles or skin flaws). How to use the rule of thirds in digital filmmaking Framing shots for your digital film is not just about pointing a camera at a subject and pressing a button. You should take time to consider the best way to frame your shot — every shot — because doing so will always pay off in the final edit. The rule of thirds is one of the most basic and important rules to remember when shooting your film. It’s not really a “rule” in the strict sense, and you won’t be arrested for not using it, but it does make your shots look better. The rule of thirds was first used in paintings and photography and then later in film and TV. Instead of placing subjects in the middle of the frame, artists, photographers, and filmmakers use the rule of thirds to position their subjects and actors to make the shot look more interesting. Here’s how the rule of thirds works. Each of the images below is an identical shot of one of our actors. The second frame has been divided into thirds, horizontally and vertically: three sections across and three sections down. This is where you get rule of thirds from. The goal in this shot was to draw attention to the actor’s eyes, so the shot was framed with the eyes two‐thirds of the way up the frame and two‐thirds of the way across the frame. This leaves the actor positioned more to the right of the frame. You could move her more to the left instead, but because the actor is already looking to the left of the frame, positioning to the right is the preferred choice. It’s better to leave some open space for the actor to look into. As you can see, moving the actor over to the left of the frame looks odd and crowded, and may distract the audience from the point of this filmmaking shot. Using the rule of thirds is like riding a bike: It takes practice. If you use the rule of thirds often enough, framing shots this way will become natural to you, and you’ll be able to do it easily in your filmmaking without thinking about it. Next time you watch a movie, look out for the ways the director uses the rule of thirds. Sometimes you can spot moments in films where the director intentionally breaks the rule of thirds to make the shot feel awkward. (Just make sure you spot these moments quietly. Constantly pointing out awkward shots may annoy your family or friends.) Types of shots in filmmaking The beauty of digital filmmaking is that you can move your camera around and change your shot types throughout a scene. Choosing the right type of shots for your film can enhance a scene’s look and build emotions and mood. Be sure to take time in choosing your shots. A wide shot, also known as a long shot, shows your audience more of the scene you are filming. You do this by zooming out on your camera or by simply moving your camera farther away from your subject or character. Here is a wide shot; next to it is the same shot with a grid superimposed on it so you can see how it was framed using the rule of thirds. As you can see, the actor’s head is framed in the top left. Some filmmakers like to start their scenes with a wide shot. When a wide shot is used this way, it’s called an establishing shot, and is used to show more of the location surrounding the subject or characters in your scene. Imagine you’re filming a scene, and you want your audience to know that your characters are on a beach. One way to do this in your filmmaking is to begin the scene with a wide shot showing your characters, the sky, the sea, and the sand. Instantly your audience knows the characters are on a beach. When framing a shot, look out for any straight lines you can find, either horizontally or vertically across the shot. Use these lines to keep your framing straight. For instance, the shot above is framed so that the horizontal line of the shot follows the line where the grass meets the trees. An extreme wide shot is filmed even farther away from your subject or character — in fact, sometimes they’re not even visible in the shot. This shot is great was for filmmakers to introduce the location of your scene. Often blockbuster movies establish the location of a scene by using an extreme wide shot that includes landmarks, buildings, or sights that the audience will recognize. Shooting a mid shot in your film The mid shot or medium shot frames the characters from a space above their heads to a point roughly midway down their bodies. This shot is the most commonly used shot on TV and film because it’s great for capturing hand movements, gestures, and facial expressions. Here’s a mid shot taken from a DVD series. The mid shot is used a lot in news reports because it focuses the audience’s attention on the upper‐half of the bodies of your characters. Because the viewpoint of a mid shot is similar to your own viewpoint when you’re having a conversation with someone, it’s also the most natural‐looking shot for an audience to watch. It’s a great shot to use for conversations and dialogue with small groups of people. A two shot is a mid shot used to film two characters together. A two shot is often used in TV when two presenters host a show. It can be used when you have two characters side by side sitting together or walking, or when they’re face to face at a dinner table or having coffee. Over-the-shoulder shots are great for conversations between characters who are facing each other. With an over-the-shoulder shot, you see both characters at the same time but only one character faces the camera as you film the shot. Over-the-shoulder shots are fun because they allow you to see the expressions on a character’s face. Because the character faces the viewer, over-the-shoulder shots can make the audience feel like they’re in the conversation. Over-the-shoulder shots also can be used within close‐up shots to capture more expression from your character and to build emotion. With over-the-shoulder shots, it’s common for actors to look at the camera during filming because the camera is very close to the shoulder of the second actor. Actors looking at the camera can be distracting to the audience. One way to keep your actors from looking at the lens of the camera during filmmaking is to move the camera farther back away from the actor and then zoom in. See what happens when an actor looks at the camera? Shooting a close‐up shot in your film Bringing the camera closer or zooming into your subject or character creates a close‐up shot. A close‐up shot is a great way to show a character’s facial expressions, which can help build emotions in your film. Directors normally use close‐ups in scenes to show how a character is feeling. This degree of detail is hard to get with a wide shot or mid shot. Because close‐up shots convey so much detail on the actor’s face, these shots can allow actors to express subtle emotions. An extreme close‐up shot comes in even closer to your character or subject to show an even greater degree of strong emotions or fine detail on a subject. If you want your audience to know that your character is really angry, say, you could use an extreme close‐up of the actor’s face to show the anger in her eyes. You can use an extreme close‐up for any shot in your film that requires a lot of detail. For example, if you want to show the object that your character has in his hand, you could use a cut‐in to an extreme close‐up shot of that object. A cut‐in is a close‐up shot used to show detail on an object or on a part of the subject already visible in the main scene. In this scene, it is important that the audience see the key being passed from one character to another.

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