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.

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.

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. 

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.

#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:

 

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.

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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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Film Director and Producer Mary M. Frymire has fearlessly grabbed the reigns of both Film Director and Producer for over 30 years. Traversing across Europe, South America and Asia, Frymire has worked on projects such as Martinique; Runaway Bay, a documentary about kids changing the world, to directing a 16mm film in Paris exploring cemeteries and catacombs, and moving to Spain to focus on a film about Carmen Amaya and the roots of Flamenco, while also studying Flamenco.

 

InFocus wanted to know what it takes to be a successful Film Director and Producer as well as staying focused on projects that are personally important:

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