Low-budget filmmaking tip #180
It’s not rocket science to produce a 3D movie — all you need is the same technology behind Viewmaster sets, and for your audience to be able to cross their eyes or look wall-eyed at something. It’s no big trick — I’ve done it myself. To produce a 3D movie showing on one screen is trickier, and you’ll need glasses.
Assuming you want to make a 3D movie.
I can’t imagine why.
Low-budget filmmaking tip #179
For every sound you record for your sound design, keep in mind that you can pull three different sounds from that: the original recording, a speeded-up version, and a slowed-down version. An ordinary impact sound when speeded up becomes a sharp crack, and when slowed down becomes a deep whoomph.
Low-budget filmmaking tip #178
Some people like to show rushes to the crew, thinking it can be inspiring. Some don’t, because it can be demoralizing. However you decide to do it, at least be consistent, be clear about why you’re doing it, and keep an eye on what effect it may be having.
Me, I’m not convinced it’s a good idea unless I want the actor to see something specific. I’d rather they worry about their job and I worry about mine.
Low-budget filmmaking tip #177
Watch DVD commentaries. Some of those contain incredibly valuable filmmaking tips. Some are complete self-indulgent horseshit. You’re going to have to decide for yourself which is which, though. Even the self-indulgent bullshit commentaries are a lesson in how self-indulgent bullshittery sounds.
Low-budget filmmaking tip #176
There will always be someone better than you. There will always be someone worse than you. Comparing is a losing game. Make your own movie — be your own voice.
It’s one of those oddly useful things even off set.
Low-budget filmmaking tip #175
It’s hellaciously cheaper to find a Local Band you like who’s looking for exposure than to try and secure the rights for that “perfect” song from Popular Band. Plus, Local Band will probably enjoy the exposure you will give them.
In collaborations, if any one element wins, the rest are lifted a bit as well.
Although even if they’re not famous, if all of you are operating under a shoestring budget, it costs nothing extra to hype them a bit on your DVD box anyway.
Keep in mind that there’s no shortage of people out there who could pay, but instead try to rip others off.
At the low-budget level of filmmaking, though, everybody’s trying to help everybody else out. In a situation like this, we’re kinda all in the same boat together — trying to make our art in a system that favors much huger budgets.
And if Local Band doesn’t want to participate or can’t for Union reasons, well, that’s okay. That’s their call. You shake their hands, thank them for thinking about it, and move on with no hard feelings.
Low-budget filmmaking tip #174
Sometimes, motion tracking doesn’t work. Unless you or someone you know is a total whiz at it, don’t count on motion tracking to make up for what you can fix on set. Look at all signs, glass, mirrored surfaces, visible roads, etc.
A lot of people forget to check glass doors and windows to see what’s showing in the reflections.
Even cars that are clean can reflect unwanted things.
I was on one shoot where reflective cars kept showing traffic going by. Moved a couple of cars in the way and shazam!
Was in another shoot where the whole crew was visible in a mirror in the background dressing of a set. Once we saw that, we moved everything a little bit and voila (or maybe we simply covered the mirror).
In both cases, correcting that in post would have been a real headache.
Low-budget filmmaking tip #173
Look at the shadows! If your scene takes place in an outdoor location, near a high wall or hedge or fence, pay attention to the direction of shadows. You may discover that the “really cool” North/South hedge setpiece casts your entire set in shadow after 1pm.
Smaller variations in light and shadow aren’t usually as critical a problem — unless viewers are really picky, or the shadows are really different, they won’t notice different shadow-lengths.
But if your entire set gets covered in shadow every day at 1pm, then you’ve got to account for that when shooting.
Low-budget filmmaking tip #172
If you’re shooting after dark, be sure you’ve visited the set after dark. Know where all the random sources of light are coming from and try to deal with them in advance. A crazy night of playing “avoid the neighbor’s porch light” could have been easily handled by a visit to them a couple days before to arrange for the bulb to be pulled for that night.
This one I learned on the set of “The Statement of Randolph Carter.”
Low-budget filmmaking tip #171
Here’s a nifty “Emergence” kind of sound: Reverse the first five seconds or so of your sound effect or music, add a little echo to it, then reverse it back. Mix that into the original beginning bit and voila! Now you know how to do that tricky sound thing they do a million times in “Torchwood.”