Low-budget filmmaking tip #184
There’s only two reasons to do another take: because you want a safety, or because you want something done differently. If you want a safety-take, say so. If you want something changed, say so and explain it. Doing multiple takes without knowing why can be very frustrating to the cast and crew. It’s okay to say “I only want a couple of safeties,” by the way. Just don’t be “mysterious.”
Be very careful of line readings. Sure, sometimes there’s a certain emphasis the actor isn’t “getting,” and that is something upon which something else depends, but a director who line-reads too often is probably someone who ought not to be directing, but probably acting.
I think it’s one of those things that has to be approached judiciously.
I’ve done it a few times, reluctantly, but with talking with the actor about it. Each time I can recall, it was because there was an element that they weren’t understanding about the line. Once they got the joke, they usually did it better than I could have.
Which is why they’re actors and I’m not.
Low-budget filmmaking tip #159
Know what part of the set is Hot Set. Hot Set is what can be seen by the cameras. If there’s a lot of camera motion, the Hot Set is a lot bigger than you would expect. Always keep that in mind. You don’t want to be the person who moves something or leaves a coffee cup, or — holy smokes — steps into a shot.
Low-budget filmmaking tip #118
A dog isn’t a werewolf, but careful application of camera angles, cuts, reaction shots, and good interesting sound can fool most anyone.
When your budget is low, less can be more. This isn’t just a catchphrase — it can be a way of life!
Low-budget filmmaking tip #116
Always use a monitor so that you can see what the camera sees without making your DoP move. On rare occasions, a monitor is contraindicated, but those are very rare occasions. You always want to know what the camera’s seeing.
I was on a set a while back where the Director had no monitor and the DoP and he constantly locked horns about what was in the viewfinder. Afterward, in editing, the Director found out the DoP had been moving the camera each time after the Director had approved the shot.
It’s a valid point that the Director and DoP should trust each other, but this does not means the Director shouldn’t be watching the monitor anyway.
“Trust” is a tricky thing.
My favorite DoP is a fine shooter and I’ve worked with him for more than a decade on LOTS of projects, but I still insist on a monitor (and he also insists I look at the monitor instead of through the camera), and still make suggestions based on what I see.
And, likewise, he makes suggestions to me as well.
It works very nicely.
Low-budget filmmaking tip #96
Stick with the ending you planned. You can shoot the alternate ending after you shoot the ending you planned.
Low-budget filmmaking tip #94
Security camera footage usually comes from high in corners. Please don’t just re-use normal footage when simulating a security camera. Strap a Handicam or something up in the corner and do it right. It’s just another angle.
A couple years back, I watched some ghost-pirate movie and the “security camera” footage of a murder was simply that section of the movie. Including the cuts and shot changes! It was… astonishingly horrific to watch.
Low-budget filmmaking tip #52
Always check your monitor to make sure you’re happy with your framing, then watch your actors. Let the DP keep ‘em in frame. You can always look at the shot after the take.
Low-budget filmmaking tip #37
Get a tripod! Battlestar Galactica was a fluke — if you don’t lock that camera down, you’re going to make your viewers queasy. You can pan and tilt and even dolly if you have one, but unless you have a real good compelling reason, please, please, please get that camera on the sticks!
Low-budget filmmaking tip #32
A cheap-ass steadicam you built using $15 worth of parts is better than no stabilizing tool at all, especially if you practice diligently with it, but it’s not a $1000 Steadicam, and it’s not realistic to compare the two. Make do with what you’ve got.
Point in fact, I have enjoyed using my $15 “Steadipipe,” but I have also used a real Steadicam in the hands of someone who knew how to use it. Obviously, his results were better than mine. There are always tradeoffs.
Low-budget filmmaking tip #31
There are three words that should drive everything in Production: “Get the shot.” The only two types of activities on set are activities that help get the shot and activities that are preventing the shot. Keep the former going, and minimize the latter. Food belongs to the former category, by the way.
I think sometimes the problems I’ve seen and heard of on set are when people forget that the entire purpose everyone is there is to get the shot.
It’s like a mission statement, but less fluffy!