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Wednesday, January 22, 2014

How to make low budget movie with low cost equipment


How to make low budget movie
To create even a low-budget movie, you'll need a rock-solid script and at least a few thousand dollars either in your bank account or on loan from parents, friends or even credit cards. If you have the screenplay and the money, you need only to pilot the three major steps involved in making any movie: per-production, production and post-production. If you follow a few tips, you'll be ready for the film-festival path, fame and destiny.

The first step in making your movie is putting everything in place before you ever have cameras: polishing your screenplay, finding actors, rehearsing, and putting collectively a team of technical folk who can work the cameras, tape recorders and lights. This is what's known as per-production.

Everybody likes to see their names in the recognition, so you have an additional option besides giving away your movie’s profits. Occasionally, just an offer to be in the credits will be enough to convince somebody to work on your movie.

Whether you buy a script or wrote it yourself. It’s vital to work from one that’s halfway decent. Just make sure it’s not pathetic, as this will hamper the abilities of your actors and quickly turn off a few viewers.

When looking for actors; try to use your friends. Certainly you remember someone who did a believable job in your high school or college theater department. If not, don't worry: There are professional entities that focus in farming out talent to productions. If you inquire, they will send you big, glossy photos of the actors and actresses whom you can then contact to arrange an audition.

The economical way to get your hands on props and costumes is to borrow from friends and family. Of course, it won't cost much to go down to the local thrift store to pick up a few items, moreover. But if you want something more specialized or upscale, look for prop companies under "Costumes" in a phone directory.
The issues involved in acquire film are several and complicated. You'll need to make a decision whether to use 16 mm or 35 mm, what speed stock to buy, where to develop it, and with whom to store it for protection. Make sure to consult with your DP.

Film is rather costly, even when you don't include the cost of developing it, and all of the wasted footage you won't end up using. But don't despair: Companies like Kodak and Fuji have been known to give price cut to both students and low-budget productions. They create the real money off productions that use thousands of times further film than you will, and if you are a growing talent, they will want to get you using their product so you'll keep buying it when you're a big entrepreneur. Use your small-fry status to your advantage as often as you can.

While you start the process of change your script into a movie, the most vital asset you can obtain is a well-informed director of photography. Almost each movie has both a director and a director of photography. A director of photography, or DOP, is someone who has a technical understanding of how the camera works, what film to use and how the lighting will affect the feel of a scene. On a big movie, the DOP makes all of the pretty pictures and oversees a crew of several cameramen. On yours, the DOP will be behind the camera himself. The director is usually more concerned with the overall story and the acting, and tells the DOP how she wants it all to look.

One of the greatest approaches to get a DOP is to polish film schools. While there are particular film schools around the country, most colleges and universities have film departments, so you are bound to live near some source of technical talent. To search, go to The Film School Directory (see Resources), an online directory of most of the film departments that have websites. From there, you can get a phone number or email address of the suitable contact person, give him a call and drop by to check out the program's bulletin boards for announcements. These places will almost always have a board with the names and business cards of aspiring DOPs

Once you obtain some leads, call prospective DOPs and ask them to send you a demo of their work. You should be able to tell from watching their previous projects whether they can handle your needs.
If you desire to have music on your low budget movie, you may be trying approaching a local college and university music student. Offer them screen credit in exchange for recording an original compositions for your movie.

The last step is, of course, post-production. This is a long, boring step that no one really thinks about before making a movie, but which is most likely the most important one in the whole process. After all the glam actors go home, you're left with several cans of film. That doesn't equal a movie, so clip up. The film isn't significance a thing until it's developed so get your DOP to help you find a superior film processor to develop all of your rolls. It's like dropping off a roll at the local drugstore just a lot more costly. You can get discounts if you're a student, though, and remember that 16 mm film is a cheaper option. For this step, you'll most likely have to send your film to LA, where most of the best and cheapest processors are. No matter where you shoot, this may be the best option, since these guys are professionals and are used to receiving film from projects all over the world.

Once you have the film developed, get it into the hands of a fairly skilled editor who is well-known with computers and the process of editing. Therefore, the editor oversees the process of editing, which is where you take the bits of the film you would like to use and put them in the right order. Editors are usually film school students or recent graduates. Find one and compensate him in all the same ways you did for your DOP.

Remember, there is departure to be a ton of film you shoot that you will not end up using. Actors will mess up lines or things will go mistaken, so you'll have to throw out a decent amount of footage. And from the footage you have left, you may not essentially want to present it in the same order in which you recorded it. Sometimes, you may be forced to film the last scene first, for instance, because of the accessibility of actors or locations. If you were to edit that footage, you would need to cut that scene from the beginning of the film and put it at the end.

But these days, no one edits a film by slicing up the long streams of film and taping sections together. The process is all done on computer: You transfer it to video by renting a huge machine called a telecine machine, which runs the film though equipment that can take the images from film stock and transfer them onto videotape. Once the film is in the video format, you can edit the images by uploading the video into a computerized editing system either Avid or Media 100 and handle the editing on a computer.
Telecine is the process of transferring motion picture film into video form. The term is also used to refer to the equipment used in the process. Telecine enables a motion picture, captured originally on film, to be viewed with standard video equipment, such as televisions, video cassette decks or computers. This allows producers and distributors working in film to release their products on video and allows producers to use video production equipment to complete their film projects.
Non-Linear Editing is a technique used in digital systems where a digital source (such as digitized film, video or audio) is used to create an edited version, not by rearranging the source file, but by creating a detailed list of edit points (ins, outs, fades, etc.). The editing software reads the edit list and creates a new version (the edit) by applying the list parameters to the playback of the source. 

Once your movie has been edited, it’s prepared to be seen by the public. But in order for anyone to see your movie, you’ll need to find yourself a distributor. That’s where film festivals come in.

There are plenty of representatives from studios and distributors at main film festivals. If your film catches their eyeball, don’t be surprised if they approach you about making a deal.

To get a position to screen your film, just call a local art house stage and ask if and when there is accessibility. You may have to rent it, but then once more, the owners may be interested in hyping their indie experience by giving it to you free of charge.

Remember, the ultimate objectives of a filmmaker are to have the project distributed to theaters around the country, and to be recognized as a talent and offered financing for future projects. Festivals and distributor screenings will be your prom, and if all goes well, you'll be well on your way to living a cushy lifestyle among fabulous celebrities.


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