How To Make Great Films On Rock Bottom Budgets Without Going To Film School
Rob Ager
Language: English
Pages: 48
ISBN: 2:00292541
Format: PDF / Kindle (mobi) / ePub
FOREWORD
My aim in this book is to give you the knowledge and strategies necessary to write,
produce, direct and edit great films on rock bottom budgets. Using the methods
described in these pages I have made over three hours worth of short films with a total
budget of under £5,000 (including the purchase of pc and camcorder). Most of these
finished films look like they’ve been shot on at least ten times their actual budgets.
I’m not going to teach you conventional film making techniques because, quite
simply, conventional film making requires high budgets. Many of the methods in this
book are about cutting costs while maintaining quality … it’s a lot easier than you
think.
RKO Radio Pictures: A Titan Is Born
Dead of Night (Devil's Advocates)
More than Night: Film Noir in Its Contexts (2nd Edition)
Majestic Hollywood: The Greatest Films of 1939
The Film That Changed My Life: 30 Directors on Their Epiphanies in the Dark
A thirty meter lead will even allow you to set up a few bright lights outside a window to mimic a street light or even the sun. For safety reasons you should also buy some gaffer tape to secure the wires to the floor and prevent crew tripping over them. Copyright © Rob Ager 2006 All rights reserved 29 CHAPTER SIX - SOUND AND MUSIC Sound and music are a very flexible aspect of film making. With the exception of dialogue, virtually any sound that needs to be heard can be recorded separately
you make all the adjustments to your filming arrangements that will result in a well executed shoot. Basically, your game plan needs to ensure that every shot and every scene are scheduled to be filmed at a specific time and place. It must also ensure that all the required cast, crew and material resources will be available precisely when needed. Timing is crucial. Start by making a complete list of everything that is needed in order for your film to be shot from start to finish. This list should
motive of your crew, if they have ambitions in film, will be credibility or the loss of credibility. Your crew members will be working on your film to build up their knowledge, experience and reputation to attain paid employment on higher budgeted projects at a later date. This is a powerful drive and if you tap into that drive you will have a dedicated team. Crew members may not explain their own motives in such an explicit manner because humans are often consciously unaware of what they desire
your project. Actors are well aware that a gleaming full page reference attached to their CV will significantly improve their chances of finding work. Let your potential crew member know that if they cause problems on set then you will not be providing a reference and may even remove them from the project all together. How explicitly you need to communicate this varies. Good listeners who are capable of reading between the lines will take the hint if you simply tell them about how you have
editing programs have a variety of useful filtering options for changing both the look and sound of your shots. The most popular programs will have not only more filters, but you will be able to buy or download even more filters online. In The Victim there were two shots in which a hallway could be seen through an open doorway. This hallway was painted sky blue and completely looked out of place with the colour theme’s of red, white and black which characterised the rest of the film. I used a