The versatility of the DSLR camera has made it a favourite among independent filmmakers. With a compact design that is highly compatible with small crews and Guerilla style shoots, the large sensor and wide selection of lenses have the potential to produce footage cinematically akin to 35mm film. The major downfall to the lightweight body of these cameras is the difficulty of handheld operation: even the slightest motion can be noticeable while filming. Luckily there is a stabilization solution, no matter what your budget.  

If you are producing a film and have NO BUDGET for a stabilizer, you may think that there isn’t much you can do to improve the quality of your handheld shots. However, there are a number of tried-and-true industry tricks that can make a huge difference in your footage.  

  • It’s generally better to use a wide angle lens, or the wide end of the zoom whenever possible. This is because camera shake is much more noticeable the closer the subject is to the camera.  
  • The way you stand can make a huge difference when it comes to stabilization. Find a stable object to prop your elbows up on and to help keep your arms steady. If you’re going for a lower angle, take a knee and balance your camera on top of your kneecap for additional support.
  • If you have access to a tripod you can quickly transform it into an improvisational stabilizer. Mount your camera to the tripod, spread the legs and minimize the height. Hold onto the base with one hand and lift in the air to use as a makeshift stabilizer.

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Approaching stabilization with a MICRO BUDGET gives you a little more flexibility when it comes to purchasing entry level stabilizers and shoulder mounts. If you’re particularly crafty you can also try your hand at building your own contraption, with numerous DIYs online.

  • No Film School’s $70 DIY Shoulder Rig may seem like a steep investment for something you have to assemble yourself, but the results are quite impressive (and it’s an excellent conversation starter on set!).
  • LifeHacker has a cheaper and marginally sketchier rig: $15 DIY “The Silver Flyer” Stabilizer. This homemade dupe of the Steadicam mount, is made up of parts easily purchased at Home Depot.  
  • The $85 Opteka X-GRIP EX PRO is a 2.83lbs handheld handle the secures your DSLR inside of a sturdy aluminum frame. It’s not intended specifically for stabilization, but the frame does reduce camera shake while simultaneously providing space to mount lights, microphones and other accessories.
  • The $140 Revo SR-1000 Shoulder Support Rig is a 2.25lb shoulder mount that is designed specifically for run-and-gun filmmaking. Between Amazon US and B&H this mount has over one-hundred reviews, scoring high across the board.

Stabilizing a DSLR camera on a budget is no easy task. If you want to forgo a tripod for a more mobile cinematography style, but still retain the quality of a professional production you still have many options.

There’s a saying that is frustratingly accurate when it comes to finding work in the film industry: “You can’t get a job without experience, and you can’t get experience without a job.”

Whether you are fresh out of film school, or coming into the industry with a completely blank slate, here are some tips to securing a job on set.

  1. Start With Your Address Book

If you have film industry contacts: contact them and ask if they have any leads, or if they’re working on a production that might need some more hands. Be polite but persistent, and ask them to keep you in mind for future work if nothing is currently available.  

If you don’t know a single person in the film industry: ask your friends, your parents, or friends of the family if they know anyone who currently works in film. Sometimes a referral is all you need to get a chance at your first entry level position. Vancouver is booming right now, and you likely know someone – or someone who knows someone – that works on set.

  1. Take a Workshop

The Motion Picture Industry Orientation* course was developed in partnership between Creative BC, MPPIA and industry labour organizations. The two-day course is a mandatory entry requirement for most BC-based film unions, and is absolutely vital to stand out from the crowd when you apply for an entry level position.

*InFocus Film School offers this course – find more information here.

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  1.  Research Current Productions

Creative BC provides a comprehensive and up-to-date list of all the productions currently shooting in British Columbia, along with contact e-mails for each. Put together a resume that provides any relevant job experience, workshops and education and pair it with a concise cover letter. It always helps to have an insider contact, but it’s not necessary to get hired for an entry level position. All you need is a good attitude and a little luck.

You can find the list here.

  1. Learn How to Self-Promote

One of the best ways to attract attention as a film industry professional is to establish a web presence. A website can feature your demo reel, describe your services and show testimonials from past clients. Creating videos on Vimeo or Youtube is another great idea, because you can cultivate a body of work to serve as your portfolio. Face-to-face networking always has it’s benefits, and there are a number of companies online where you can order inexpensive business cards.

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  1.  Create Your Own Work

If you’re committed to your craft and prefer being your own boss, freelancing might be the ideal gig for you. There are several jobs in the film industry that are built for freelancing – video editing, camera work, audio engineering, and more. This option requires considerably more effort as you’re building your clientele, but it can be a very rewarding career move. Choose to specialize in one particular skill, and work to make a name for yourself.

There are many paths that lead to working in the film industry, as any established professional will tell you. The one thing they all have in common is dedication. Flexibility is an added bonus – sometimes accepting a position that’s outside your skill set can be a challenging and advantageous decision.

The Art of Visual Storytelling

The era of silent films lasted from 1894 to 1929, and left a profound mark on the cinematic arts. Even today, with technology that allows us to shoot high quality videos on our smart phones, and download and use open source special f/x software, the charm of silent film remains unabated.

In 2011 the French silent film The Artist swept the Oscars, winning five major awards, including Best Picture, Best Director and Best Actor. It was not only a critical success, but a financial one as well, with a worldwide gross of over $13 million. 

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An art form that has been practiced and celebrated for over one hundred years, modern filmmakers can learn a lot from this genre. Here are a few lessons:

#1: Show, Don’t Tell

This common piece of advice for writers may very well be the mantra for all silent films. Without the convention of long, exposition-heavy monologues, silent storytelling relies entirely on visual elements. When you find yourself explaining the plot through your characters, think about what you can do to write a scene that displays it instead.  

#2: Use the Voice of Music

Although silent films did not have a synchronized audio track, theatres would hire a house piano player to provide improvisational musical accompaniment. In 1910 the concept of the “compilation score” was created,  a cue sheet that specified which songs should be played during which parts of the film. Music aided in creating atmosphere, establishing mood and connecting the audience to the story, encouraging them to suspend their disbelief. Music has a voice of its own, and can be instrumental in providing context to a scene.

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#3: Simplify Your Story

Communicating the plot of a film without dialogue is a unique challenge, but it is possible – even for storylines that don’t seem able to handle such an adaptation. A good example is the famous literary detective, Sherlock Holmes, whose film debut was in the 1900 short, Sherlock Holmes Baffled. It was no doubt a challenge to present a mystery without dialogue, but it was done eight more times during the silent film era. Consider the complexity of your storylines, and whether or not they can be reimagined with a focus on clarity.


#4: Focus on Framing

There is much to be learned from the cinematography of silent films. When they were first in production, silent films not only lacked synchronized audio, but also colour film. Although some filmmakers opted to add a pop of colour to their movies by painstakingly tinting each frame by hand, the majority of them worked entirely within the realms of black and white, focusing on framing, depth, and shadows. When you strip away the common fallbacks of modern film (special f/x, flashy action sequences, etc) the visuals must act as a foundation for the story, inviting the audience to completely immerse themselves in a new world.

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Silent film is built into the foundation of film history, and acts as inspiration for many modern filmmakers. InFocus Film School nurtures this art form by assigning students to write, shoot and edit their own silent film during their studies here.

One excellent example of this Tom Barton’s short film, Domestic Virulence:

 

1. MONSTERS (2010)
Before Gareth Edwards was behind the helm of the reboot of Godzilla (2014) and the upcoming Rogue One: A Star Wars Story (2016) he directed, wrote, shot and created the visual effects for his breakout sci-fi indie film Monsters.

With a production budget of just under $15,000 the film was shot in Mexico, Belize, Guatemala, Costa Rica and Texas with a crew so small that they were all able to drive together in a seven-passenger van. After picture lock Edwards spent five months working out of his studio apartment, where he created all 250 of the visual f/x shots using Adobe software, Autodesk 3ds Max and ZBrush.

2. Primer (2004)
When the topic of low budget sci-fi indie films comes up, it’s hard not to mention the absolute powerhouse that is Primer, a movie that Shane Carruth directed, produced, wrote, scored and starred in. During its 2004 debut it won the grand jury prize at the Sundance Film Festival, alongside the Alfred P. Sloan Foundation prize.

With a shooting budget of $7,000, Carruth’s film tackled the notoriously difficult topic of time travel. While this concept is absolutely within the realm of science fiction, this portrayal has been praised for being represented in a down-to-earth manner that enforces a kind of realism that is not commonly seen in this genre.

3. The One I Love (2014)
Directed by Charlie McDowell (the son of Malcolm McDowell) and produced by mumblecore giants Jay and Mark Duplass, The One That I Love is a welcome homage to the classic sci-fi television series The Twilight Zone (1959–1964), taking an ordinary couple and dropping them into a bizarre ethical quandary.

With an estimated budget of $100,000 (aided perhaps by the fact that filming took place at the home of McDowell’s parents), this film is a reminder that sci-fi isn’t necessarily synonymous with battle in space, or giant monsters. A speculative concept can stay true to it’s science fiction heritage and be an incredibly powerful tool to understand human behavior.

InFocus film students are acquiring the skills needed to work on a professional film set.

But what happens when a Hollywood production comes to a film school instead?

That’s precisely what happened when Warner Bros. was scouting locations for its television program Frequency and decided our brick-wall rooms would serve as an ideal backdrop for an episode, according to Program Director Steve Rosenberg.

Frequency TV Show PosterInFocus film students were accorded insider access to the production that saw the transformation of two adjoining classrooms into a New York-style apartment.

“About 12 years ago I had worked with the DOP, Kamal Derkaoui,” said Rosenberg. “He remembered me and was incredibly generous in allowing our students to shadow the production and ask questions.”

One of the students, Tom Barton, echoes the importance of first-hand experience on a large film set. “It was crazy how big the machine was, with 50 people running around. Kamal let us stand behind the director and script supervisor to watch them at work while he explained what everyone was doing.”

Barton was pleased to hear the pros use phrases like “shutter angle” and “ISO rating” that corresponded to the terminology he had learned in school. Additionally, Barton had a vague idea of what a script supervisor was, but through close quarters he was able to gain a deeper understanding of the job.

“The difference on a big set is that the crew is more specialized, whereas on our shoots we are more actively involved in all areas,” he added.

The experience has confirmed for Barton that he’d like to direct. A lasting impression is in how the episode’s director was a constant source of inspiration and joy to the team.

Another student, Robin Jung, is no stranger to union sets. An actor with appearances on the series Fringe and the feature Bloody Knuckles, Jung was already prepared for the scale of the Frequency production.

Still, there were discoveries not quite anticipated. “The production had a large crew present, with PAs waiting around for when they were needed and I thought, ‘Wow, this many people for a three-minute scene.’”

Jung was amazed at the length of time it took to reset between takes and how the director would speak between the actors’ lines to guide the Steadicam operator on where to move.

“As the director you’re the captain keeping the ship on course,” said Jung. “For this production the director was straightforward in asking for what he wanted. I learned the importance of being bold.”

The students will have further opportunities to observe and learn when Frequency returns to InFocus for planned reshoots.