- Slow down.
- Spend more time choosing my shots.
- Setting up the pins takes more time than knocking them down.
- People are stupid (especially me). Keep it simple.
- Give lines space to breathe, especially funny ones.
- “Good enough” almost never is. Great works of art are never finished, they are simply abandoned.
- For smaller film contests, a lot of frenetic activity, and grotesque facial expressions and OTT delivery, far outweigh cleverness and story and so on. Unfortunate, but true.
- Don’t assume film contests are about narrative. They’re about captivating film(video) in any structure or form.
1) Need a storyboard.
Whenever possible, get a storyboard for your movie. If you think it may not be possible, … It is! It will save you time, it will give you a visual plan (that can be altered if needed), it will free your mind up to focus on the actors, the shot, and other important factors.
2) or at least a detailed Shot list
As was the case in the 24 hour video race, we just didn’t have the time to get a story board, but we did have time to get the shot list. We wrapped the shoot 4 hours earlier than we planned. Bonus!
3) No white clothes in shot on sunny days, or white cars for that matter.
Unless there’s a compelling reason in the script for white objects on a bright sunny day. Avoid them. Digital cameras hate them in sunlight.
4) When downloading shots, categorize by shot list at time of download
Your editor(or yourself if you’re editing) will praise your glories, the easier you make his/her job.
5) Use a Clapboard, less for audio sync, and more just to name the shot.
See, note 4.
6) Actors talking over each other is a pain in the ass, unless they can do it exactly the same each take.
Actors talking over each other makes the editor’s job SO much more of a pain in the ass. It’s easier to overlap the actors on top of each other in post, than it is to separate them when they are overlapped already.
7) Can’t have enough B-roll in both Video & Audio
When you think you have enough B-roll, shoot more. In fact, double what you think you have, then get a little more than that. Shoot b-roll before the shot. Shoot it during the shot when the director’s chatting with the actors. Shoot it after the shot with the actors still in the scene. Then shoot some more after they’ve gone.
8) The more we can control the environment, the more consistent the audio will be. Traffic & Airplanes SUCK… they suck big donkey dick. Any uncontrolled/unanticipated noise sucks, and makes the editor’s job difficult.