A well constructed demo reel might be the key to your dream job.

Follow these tips to make sure yours stands out!

If a picture is worth a thousand words, then a demo reel is worth a million. An expertly crafted demo reel can quite literally kickstart your career if your resume is less than prolific. On the flip side, all it takes is a few seconds of poorly assembled footage for a producer to make a snap judgement and move on to other applicants. So what does it take to make a demo reel that will sell your skill?

PICK A SKILL TO FEATURE

You may be a jack-of-all-trades on set, but when it comes to your demo reel you should choose only one or two skills to focus on. Consider what sort of gigs you are hoping to gain with your reel, and what kind of footage you have on hand.

IDENTIFY YOUR GOALS
Take some time to really think about what kind of jobs you want to apply for. If you are trying to get hired as a extreme sports cinematographer, a reel that is composed entirely of subdued dramatic scenes may not be the best choice. That said, it doesn’t hurt to show versatility, so if you want to keep your options open, put together a sample platter of the different genres that you have worked in.

CONSIDER YOUR CONTENT

If you find yourself with more ambition than useable footage, then it may be time to get out there and get working. It might seem counterproductive to ask friends if you can volunteer on their indie projects when you’re trying to get paid work, but the truth is that you need good content to populate your reel. Another option is to make your own material, specifically for the reel. Good footage is good footage, and the most important thing is that you created it yourself.

InFocus Film School alumni Marina Caviglia’s reel. 

KEEP IT TIGHT

When you have enough material to start your editing process, it can be very difficult to choose exactly what you should use and what you should cut. If you find yourself with a seven minute mega-reel it may be a smart move to get someone else to edit for you. The truth is that many producers may only make it fifteen seconds into your reel before they decide to consider you for a job. With that in mind, a minute to a minute and a half is a great length for your reel.

ASSEMBLE A FOCUS GROUP

Once you’ve got the initial cut of your reel together then it’s time to assemble your most honest friends and family members, and get them to give you some feedback. Ask them to specifically note which parts jumped out at them, and which they could have done without. Compare their notes, watch your reel again and re-edit. Repeat the process with some new participants, and then go tweak it a little more. Sit back at your computer and take a moment to celebrate your killer demo reel.

This process can seem a little daunting at first, but in order for you to establish yourself as a professional you have to make some pretty big strides. The film industry is extremely competitive, but if you’re willing to put in the extra effort to make your demo reel shine, then you are already on the right track to having a long and prosperous career.  

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.

2. 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.

3.  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.

4. 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.

5.  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.

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.

Want to get your short film funded?

Paul Armstrong shares his keys to a great pitch

Since 1999 the 8 day filmmaking challenge, aptly named the Crazy8s, has provided funding for nearly one hundred emerging filmmakers. Each year over one-hundred teams apply to the competition and six are awarded $1,000 and a production package that includes everything they need to make their film.

Paul Armstrong is an award-winning Vancouver producer, founder and programmer of the The Celluloid Social Club and the Executive Director of the Crazy8 filmmaking challenge. He provided some valuable insight for hopeful Crazy8s applicants who are considering entering this year’s competition.  

What are the most compelling qualities you look for in a filmmaker’s pitch?

PA: The most compelling qualities I look for in a filmmaker’s pitch are four fold:

1. How original is the story and how well is it told. Does it have a beginning, middle and end? Is it more than just a series of action and plot points? What does it all add up to? Why is this story worth telling?
2. How passionate is the pitcher about the story in giving their pitch? Without enthusiasm on their part it’s hard to instil that excitement to get this film made in the judges.
3. Do I have the confidence that the filmmaker can pull off this film with the resources they have to make the film. Have they thought about the practicalities of creating their film?
4. Does the story speak to me on a personal level – do I connect with it. Film is a communication device and is that working here?

Are there any genres or subjects that get pitched far too often?

PA: With Crazy8s we welcome all genres and subjects – it’s up to the filmmaker to find whatever vehicle works to tell their story. The final six films are usually a mixture of dramas, comedies and genre such as science fiction or horror. That said each year there seems to be a common theme among many of the pitches and that can count against them as the judges would only want a certain number on a similar theme but we never know what that is until we get the pitches.

What is the best way for a filmmaker to stand out from the crowd?

PA: One of the best ways for a filmmaker to stand out from the crowd is to create a brilliant story that we can’t but help to say yes to. The other is to be yourself and to express that uniqueness in your film. Don’t presume what we are looking for in terms of what was made in the past or what is currently trendy.

Another way of doing it is to make your actual pitch original by including a taste of the tone of the film in the pitch rather than just a talking head pitch, which is fine too.

What are some of the worst mistakes people make while pitching?

PA: Some of the worst mistakes people make while pitching is to pitch an underdeveloped story where maybe the end isn’t complete or there isn’t a story arc. In other words they haven’t conveyed to us why this story is worth telling over another one. Another mistake is that the pitcher doesn’t show enthusiasm or passion and they get too complacent.

Another mistake is that they forget to talk about themselves. We need to know who the pitcher is to gain confidence they can make the film. In addition some pitches are sometimes not polished enough. So be sure to rehearse your pitch and to fix any technical problems with it.

—

The Crazy8s Registration Deadline is November 2nd, 2016.

To find out more click HERE.

By Robert Chomiak

Screenplays are a means to a finished film. Many industry people consider them blueprints. However, this comparison isn’t completely accurate. A well-written screenplay isn’t a sterile, skeletal, monochromatic set of action lines inserted between the dialogue.

Word choices impact the sight and senses of the reader. In that regard, a screenplay has more in common with a short story. The experience of reading a screenplay should approximate what the viewing of the movie will be like. In fact, another term for action lines is screen directions.

Writers may be hesitant to “direct on the page” in the misguided belief they are treading on the director’s job. This results in action lines comprised mainly of master shots that severely limit the potential of a script to translate into a uniquely visual motion picture.

Students at our film school are encouraged to craft effective action lines so that all departments—production, cinematography, art, sound, costume, hair and makeup, locations, electrical, visual effects—are working toward the same movie.

But how can you write screen directions that direct without directing? Let’s illustrate with an example:

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