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To make the leap from one part of production to another might sound or look all easy a decision to make. In the real sense It is not. There are filmmakers who have carved a niche for themselves in a particular production form, there are film makers who only shoot music videos, some shoot features, some just documentary. But the nirvana of every filmmaker is feature film. It is an unstated truth that every filmmaker knows. This post will talk about how to make that bold transition from a music video director/producer to that with a feature film to her name.
You will need lots of handshakes and smiles. Trust me, moving from music video to feature films will mean lots of casts, crew and help. If you make that switch, you will need to call in lots of favour. You might not have a full understanding of that part of production, so you will need help from people and companies vast and operational in that field. Don’t be ashamed to ask for help if you think you are deficient in any part. If you are waiting for when you will translate just your knowledge of music video to feature film, you will wait for a long time.
You will need your crew. Yes, your music video crew. If you want to shoot your first feature you will need people you understand, who understand you. Understanding you in this context involves understanding deferred payment, small honorarium and volunteering. If you can get your music video crew to understand and reason along with you to work with you, it will save a lot of unavailable cash and time.
The switch must be made in consensus. Before you switch or shoot feature make sure you intimate your music video crew. Let them understand why they should join you to shoot film. Honestly state what they will be paid when money flows. Make them make that switch with you. Bring in people with experience in feature films to man few other areas especially that of assistant director, camera operator and continuity.
Before you shoot your feature film let the script be within your budget. The script must be unique, interesting but it must be within budget and favour reach. The script should not be too bogus and out of budget reach. Weave the script around things you can get, things you know how to easily get, things you have gotten before. Make sure your script gives you breathing space to shoot, if not looking like that, edit, edit, edit.
Time is of essence. In Music Video, there is a lot of time wasting on not needed shots. If you are making a feature film, you don’t have the luxury of uncountable needless shots. Your shots must be precise. You don’t have all the time in the world. So if you will shoot on schedule you need to shoot what you need.
If there is a part of production, music video company don’t tread - that is distributing. This end of music videos is done by artiste or their record company. If you have to shoot a feature, you must know about how you will distribute your work. You must have an understanding/agreement with a distribution company before you set out to shoot if you don’t want your work sitting on you shelf or living in your hard drive.
If you want to shoot your first feature film as a music video director (and you should) you will find this insightful.
To many, short films doesn't come with any form of financial benefit. And should so serve basically for exposure. Although true it doesn't however dismiss the fact that one can make money from shorts. Investment gains might not be a par with investment cost but it will serve as motivation. Short films is hobby to some. Others indulge in the art just to improve their craft, experiment and showcase their works. Some say its a wise and effective way of spending money as a filmmaker. It is an investment that will yield returns in future to some. No matter why you are into shorts, a few financial returns won’t hurt.
Make money through You Tube or Vimeo. Your shorts can earn you cash on any of the VOD platforms like Vimeo, Hulu, Netflix, You Tube. All you need to do especially on You Tube is to build an audience before you post your shorts. To make money on You Tube you need the right groundwork.
Before posting on You Tube or any other VOD platforms, build an audience for yourself. Use other social media platforms to interact and build a network/audience. Flaunt your works. Post viral videos regularly on You Tube before attempting or posting your short film. After amassing the needed audience, it is time to post your shorts and make money monetizing it
In the plane one day while shuffling for what to watch. I stumbled on short films. I was amazed. This is a fortune for Short filmmakers I said to myself. Airlines can make use of short films especially for flight with short duration. You can make money by having your shorts featured in flight. You can personalize or tailored it for individual airlines. Also short films about destinations is another way airline can release money to you as a short filmmaker.
You can send your short to film festivals with a token and pray it is screened so you can make few bucks. Before you enter your shorts for screening at any festival make sure it is exceptional. That way you can make money. I personally will not encourage you to see film festival as a way of recouping few bucks off your shorts although it is a means. Its going to give you exposure more than cash.
Another way to make money from shorts is the promotion of services or campaigns. For example, HIV/AIDS campaigns in Africa. Short films is a veritable tool NGOs use to drive home campaign messages. To make money through this medium you will have to either be contacted or contracted. You can approach them with a short that has a message (s) that tallies with their campaign.
Making money from short film might be chancy but with consistency it is assured in the long term. If you want your short to make money, you must shoot for exposure. It must be a digital testament of your abilities as a filmmaker. It must carry a voice that must be heard by producers, directors, production companies, script writers. Make your short a calling card and it will in turn bring in money.
The rule however is - Never shoot shorts for money.
Choosing what to write about sometimes can be more of an arduous task than writing. To sift through lots of conflicting article begging for space is no mean task. While i was thinking of what i should write i got a call from someone who wanted to become a video director and am like okay - lets talk about this.
I get a lot of calls from neophytes desperate about getting an inroad into the production business. I must admit that most of the calls are from people who are compelled by news of the financial opportunities involved and grand-standers. Well, i won’t want to put everyone under this umbrella. I will for the sake of people that genuinely want to be a film director share a few ways to achieve that aim.
You don’t have time on your side as everything you need to be a video director is in you. Beyond the cameras, crew and grips is a determination and passion to be a director. You are a director the moment you think you want to be a director but your motivation will determine if you will be a successful one or a stint worker. There is no career that your reason for joining it should be money. The frustration embedded in directing makes it stand out. You can’t be a director because you want to make money but you can make money being a director. Your drive must essentially be to shoot differently. Interpret visuals precisely. Creatively present your imagination. I have the opportunities of working with a-list directors and fraternize as friends. Trust me you won’t believe how passionate they are about their works. They are motivated, sustained and impelled by staunch devotion to their passion. They are not in the business because someone somewhere is making money from the business they are in it as long as the business keep giving them the opportunity to express themselves in frames.
See I don’t know about anywhere else in the world but in Nigeria to be a director you don’t have to follow any stringent or carved canon. Its encouraging to know that being a director is a leap a video editor has attained. A space a gaffer has occupied and a dream a film graduate has reached. I know of actors who are now directors, know of people who just learn under a cousin/uncle, know someone who went to film school and didn’t finish, know about someone who studied nothing close to media or film making calling director’s shot, people who learn on youtube or vimeo and film school graduates making amazing works.
All am saying is that there is no constitution on how to be a director - you just have to follow your dreams independent of you present situation or predicament. I am not saying you won’t need experience or knowledge of the know how but you should not be stereotyped to think that to be a director you must pay handsomely in a foreign film school. You can learn through resources online, be an intern, read books about production, start work from the lowest caste of production like best boy and walk your way up, learn how to edit or film, or you can direct and learn hands on. You don't have to limit or restrict your dream because of the scary film school fees - they are a-list directors who never stepped into any of the film schools. If you can afford it - trust me, it will save lots of stress but everyone still learn on the job at the end.
You don’t have an excuse to be what you want to be in life you only need to have a motivation that is much more than money.
Maybe its me but I have not seen a law that prohibits public institutions for filming. Also have i not seen an official guideline or procedure from either the ministry of youth and sports, information and culture, science and technology or any other on public institutions. This leaves consent at the discretion of the authorities in-charge of the locations. But over zealousness, fear of the unknown, greed, and lack of understanding has placed film makers at the receiving end. If you are involved in filming either as a producer, director or location scout you must have one sordid tale of an “embarrassing moment” at a location. Let me share few of mine working as a producer and project manager for a production outfit based in Lagos.
Let me start with a mortified personal encounter with the principal (or was it vice-principal) of a secondary school in Lagos. We were contracted by an agency to shoot a 30 seconds advert of one of the leading contender of the April 2015 election.
The concept was conceived by the agency. Part of the concept includes a classroom with students looking good (as what is promised to be achieved in education if voted in) and a tattered school (to use as the present day state of education). We decided to use a real school to better depict what the agency devised.
I am to produce it (campaign advert) so i approached the principal of the school for approval. Was shocked to heaven. I was received like i was covered in dirts.
I approached her to let her know that am a film maker and also let her in on the concept or treatment. She wouldn’t hear anymore the moment election and campaign come together as one. I try to explain to her i mean no harm. She didn’t hide her disdain for my visit - she was too scared of losing her job. She made it all about me but in the real sense of it - she was protecting her job. Hiding her lack of proper understanding of the situation and what cause of a yes could be.
“You cant use here o, You can use here o lailai (never)” rudely and conceitedly she fumed
She treated me like a scoundrel. I was so sad not because i couldn't use the school for filming but the rude approach of the school principal. Its was so depressing that i couldn't hold an intellectual conversation with her without her chasing me away like a criminal - its least imagined. I have to carry on with the project so i proceeded elsewhere. We film the scene and were not treated like criminals.
Next, we have another project. Its for a diary company celebrating motherhood - and the associated values. We need a stadium and school. In the fore-front (with another colleague) of securing location for the shoot as usual. I drove down to the location and was received at the gate by the security man. He asked of my purpose. I told him i want to film at the stadium. After asking few unconnected questions he gave me the manager’s number and i called him.
“Please sir, my name is.... I want to make an enquiry about the use of the stadium for filming”
Scared but well mannered, he said.
“well, you are coming rather late even if i want to consider you because the Governor (Ambode) has placed a ban on social activities in all public institutions and that includes this stadium. Am so sorry”
All my explanations why filming can’t be considered a social function entered through one ear and escape through the other. Infact all the conversation was on phone he wouldn't even what to see me lest i convince him or something. I persuade and explain to no avail. I told him my company is a registered production company of good standing and that we pay tax - and that public institutions are built with such money. That giving us permission will in no way infringe content of the circular. But trust me i was only talking to myself he wasn’t listening anymore.
Had to start “calling and calling”and could secure another government stadium on the Island with a screaming bill. We were charged as if we are coming there for a party. The shoot date fall on an “owanbe” day so i might pardon them for that. Well i have to explain again that we only need it for few hours of filming and that we are not having a party. My explanation changed nothing as its obvious there is an agreed fee for the location even if you only want to snap a picture. Well the job must be done and as the producer i must see that its done.
We later had to shoot at a stadium in one of the federal tertiary institution in Lagos.
Next is the secondary school scene. I still have the memories of my encounter with the other principal intact. Someone who is a part of my team went to the school to negotiate with the management or anyone on how we can use the school to shoot. I got an affirmative call and i was so relived that we have the school scene locked down. But getting to the school the whole story changed.
We met with yet another rude and austere female vice principal. She didn't waste time exhibiting the anticipated unpleasant reception.
“leave the school now, can’t you hear? E ma wo awon omode sha, won fe ko ba min (look at these children, they want to put me in trouble)” she screamed in a disparaging manner
We walked up to her. She chases and insult us like criminals as we try to explain that we are film makers. And that our work is legit and that we meant no harm. It wasn't funny as she paid no single form of attention to us. She continues pushing us with the help of some of his teachers. The height of it was when she threatened to tear the uniform one of our talent wore. All the while we have stopped filming. It’s so sad when i heard one teacher say we will call the police and it dawn on me we perhaps are operating on different level of intelligence. I can’t imagine that a teacher in a secondary school will think us a criminal deserved to be arrested for filming in a secondary school we have already been to, to secure permission?
After several wasted shooting time and begging. She came up with the Ambode circular “thingy” again. I explained that filming can’t be categorize as social function as contained in the circular. That government real intent for the ban is party. And that film making doesn't involve merry making but serious creative and production activities. All these explanations didn’t make her consent or stop being rude. So we stopped and moved to another location and got the job done.
Now, one thing recurred in the whole encounter - we still shoot elsewhere because those people doesn’t think it’s a crime. But the headache of not knowing who will consent or not makes production planning complicated. Unlike when you know which agency to approach for approval and fees.
Government should by way of legislation or through agency of government make access to use of public institution easy and dignified through concise guideline and regulation. The government will also do itself a favour as they can use this opportunity to generate revenue this period of oil price descent. This is the only way we can shoot with dignity.
If you are an editor and your work-flow goes beyond the normal “cut and paste” editing. You will need these listed applications to spice your work.
Edit ready
Divergent media’s Mac only edit ready is a fast and efficient transcoding platform with an appealing minimalistic interface.Edit Ready is built around clip wrap which change the container format without encoding the footage from one codec to the other.Edit Ready go easy on your computer when transcoding without straining your computer like your average Media Encoder.
Aside from speed and the ease of use Edit Ready handles Metadata well. Handling over to your the ability to control Metadata files from Quicktime with brazen flexibility.
With an intuitive interface using Edit Ready is easy for anyone to figure how to use.
Renamer
Renamer is a batch file renaming application that makes renaming lots of files quick and convenient. It offers all standard renaming procedures and more. It can number files sequentially, number files randomly, find and replace text, change file extensions, remove file extensions among many other capabilities. If you are working with lots of files and folders, you will find Renamer a helping tool. By configuring the re-naming procedures, Renamer can save lots of time and make your workflow less cumbersome.
This batch renaming utility will make your editing easy and professional. Its a must have. Be it advanced renamer, the renamer or renamer - this application works perfect.
Mpeg Streamclip
Mpeg Streamclip is an essential powerful video converter, player and editor. It can play not just Mpeg (don’t let the name fool you), it plays many movie files and can transcode to many formats. It can convert Mpeg or Mkv files muxed/demuxed for authoring. Mpeg Streamclip functions as a basic movie editing software. By entering a You tube URL, Mpeg Streamclip can also download the files. You can use Mpeg Streamclip to watch movie and convert formats like MPEG, VOB, PS, M2P, MOD, VRO, DAT, MOV, DV, AVI, MP4, TS, M2T, MMV, REC, VID, AVR, M2V, M1V, MPV, AIFF, M1A, MP2, MPA, AC3. It helps transcode files to a more editable formats and above all a free tool.
Pluraleyes
This is another wonderful tool an editor must posses to make his work comfortable. Pluraleyes from Red Giant has amazing sync ability. It syncs audio and video files in seconds. Without leaving Premiere Pro, the latest version of Plural eyes let you sync video and audio without leaving the Premiere pro window. With a single click, pluraleyes analyse files, sync it and colour code the files so you can identify your synced clips (also show clips that didn’t sync properly). The latest version also offers NEW, a workflow for music videos which during sync automatically place shots/takes on own track, muting all other audio while making the master track audible. This is a fascinating and easy tool for perfect sync.
Post haste
From digital rebellion comes another essential application for editing. A suitable free project management tool for video professionals, audio professionals, graphic designers, web designers and anyone who want to keep their projects better organized. Compelling features includes the ability to create unlimited templates for different project types. Also using the cloud workflow platform Kollaborate, post haste can create cloud projects, sync templates and integrate settings.
It wasn't all popped corn and movies at the beginning of this theatre pop corn relationship
This popular popped corn that has become part of the theatre taste was once banned from the opulent theatre auditorium. This alluring mix of salt, corn and butter associated with present days theatre culture spawned out of survival desperation and a marketing ploy.
During the severe worldwide economic downturn of the 1930s known as the Great Depression, Pop Corn saves the movie theatre industry from near collapse. Yes you heard me right. According to wikipedia, the Great depression “was the longest, deepest, and most widespread depression of the 20th century”. The tempting aroma and taste of pop corn at the right place saved the day (at least for movie theatre industry).
Pop corn to some dates back to 3600 BC. And could be term man’s oldest snack. But the first variation of maize cultivated in Central America, find it way to North America and later New England in the early 19th century. In 1885 the first steam power pop corn maker was invented by Charles Cretor. This mobile pop corn maker makes growth of this buttery puffy snack fast.
Regarded as a snack for the poor by theatre owners because it is inexpensive - just butter, corn and salt under conditioned heat. It was not admissible in theatres because the high-taste auditorium of the theatres is revered for the elite and polished who will not want the crunchy sound of popped corn distract the movies because then movie has no sound and people rely on inter-titles. When movie added sound in 1927 it opened the theatre to a brand new clientèle and literacy was no longer a need for the movies. It became a pleasure both the educated and illiterate can indulge. This resulted in mass patronage at the theatres. With the huge surge goes huge profits for Theatre owners and pop corn vendors. Not to renegade on its “standard” pop corn was not allowed in the theatre. A snack of choice at parks, circuses, bars and everywhere but not the theatre of movies (Yet).
During the Great depression, the Theatre industry plunged into recess while the pop corn vendors were smiling to the banks. Vendors positioned there stands close to the theatres selling their aromatic snacks to moviegoers before they entered the theatre. It is on record pop corn was smuggled undercoat into the theatre. Moviegoers were subjected to search for popped corn undercoat. As more and more people come to the theatre with pop corn bought across the street in hand, theatre owners couldn’t let this profit opportunity pass by no more. The financial appeal made theatre owners leased "lobby privileges" to vendors for a daily fee. They later cut the middlemen (vendors) by directly selling pop corn to save there crippling theatres.
When in the mid-1930s movie theatres starts sinking and gasping for survival, those selling pop corn stayed afloat. This made Movie theatre owners come to understand the financial power of concessions and its potency for profit. Concession stands were installed in the theatres and the magical marriage between the theatres and pop corn was cemented till present.
Now you know why that cheap luxury in plastic buckets is allowed into the theatres.
This is an opportunity for aspiring and adventure loving filmmakers to win a 2 weeks all expenses paid filming assignment in Vietnam. This 10-day all-expenses-paid trip in Vietnam is a brainchild of World Nomads, a community of pure freedom and unrestricted adventure fanatics.
According to the information posted on their site, www.worldnomads.com to take part in the competition
“Make a 3-minute film about an inspirational travel story. Our challenge to you is to go out and interview an amazing adventurer or inspiring traveler and bring to life their compelling travel story. This could be anything from a story of immigration to a close wildlife encounter to a triumph of summiting Mt. Kilimanjaro.” Upload your video to YouTube or Vimeo. Complete your application form - tell us what winning the scholarship would mean to you and why we should choose you. Your answer will provide considerable weight in the judging process.
Winners will win a 10-day all-expenses paid trip to Hanoi, northern-Vietnam with professional travel filmmaker Brian Rapsey. 3-day post-production workshop and mentoring with Brian Rapsey of Australia's premier TV and video production training schools, Metro Screen.
The competition closes for submission, 28th September 2016. winners will be announced on October 14, 2016.
