Just wondering if there is any common issues people run into when doing their first feature film that would be so kind to share with a first timer about to start. :)

I think this thread will be successful if everyone posts one thing, different from the others.

Hmmm.

How about... don't forget to hire a 1st AD. I didn't think I needed one but there were too many times I had to deal with things the AD would be doing and take my focus away from the shot or the actors. Had a full crew except AD. Gave everyone an assistant except for me :lol:

Shoot plenty Coverage.

Yeah, the haters will say you're indecisive, you don't trust yourself, the actors will try to convince you that that last one totally nailed it and they cannot do better, or that doing something again everytime is eating up time or light or (least worth listening to) somebody's 'patience' or 'enthusiasm' ...

And too bad for them. They won't be sitting there WITH YOU looking at the million shots that all have to fit together like a puzzle ... and suddenly that shot you only had one of, that somebody rushed or missed something, that needs to connect the chain of shots into a meaningful sequence, DOESN'T WORK (and there can be a dozen explanations of how something went wrong, but it DOESN'T WORK)

And YOU need to be able to say, or tell your editor "well, good thing I shot coverage THEN, because I just saved our asses NOW"

So shoot coverage,
whether it's the backup repeat of some necessary action,
or another angle that will cover up an error elsewhere,
or an insert close-up (the actress looked away there, do you need to see what she looked AT?)
or an alternate reading of a line ("No, THIS one." vs "No, this ONE.") or ...
well, COVERAGE.

It's right there in front of you. All you gotta do is capture it, one more time, as back up!

Camera One? Got it!
Camera Two? We're good!
Camera Three? Ready when YOU are, CB! :no: etc

I've been on little guerrilla crews where time was so desperate, corners were getting cut, a couple of people were rethinking how to do it or change it as light died or deadline approached ... and it's a nightmare.

SOMETHING ALWAYS GOES WRONG. Forewarned is fore-armed.

Coverage is your best defense.

stay calm :)

Don't be afraid to let scenes evolve.

Keep your actors happy...make sure plenty of food and refreshments are available and provide adequate breaks. Nothing can screw up the atmosphere of a set more than a petulant, hungry and tired actor.

Great stuff, half the main chacters are my friends that are professional actors here in Hollywood. Th funny part is they still want to get paid lol But I think If I say food and transpo they should be fine.

I have two cameras, I hope that is enough.

The screen play has room to breath but covers the time needed.

The lighting and the camera movement are my big concerns at the moment. I'm thinking I need to rent tracks to roll the camera on and buy three high end stand up lights? Also the computer to edit it, I was going to use premier and a high end PC.

If they're pro actors, make sure you look into your SAG microbudget contract waiver thingies.

Hey! Venice! I used to live at 1305 OFW, old 1940's looking mustard yellow building -- probably long gone! Many long drunken nights down at the Sidewalk Cafe. Loved Venice, used to pad down the alleys in barefeet and push through the junkies, winos, and inland tourist girls (who needed to get their butts out of there before the locals ate 'em up) to buy my diet cokes ... Those were the days ...

SOUND! AUDIO! Be extra careful you get not just serviceable, but fully GREAT audio! As many books and experts will warn you: funky VISUALS the audience can accept as part of the artistic "vision" ... but BAD SOUND is instantly "amateurs-ville" daddy-o! Murky visuals is "film reality" but bad sound just sucks ...

Tommy Chiliburgers down by the Venice Post Office ... I loved that place. Sea gulls tried to kill me on the beach once, until I surrendered my chiliburger and fries! It was Hitchcock at his most terrifying!

Sesssions can run long and unproductive if you don't keep things moving along. People can often get sidetracked at the refreshment table, lost on conversation about how cool everything is GOING to be ... then the time is gone before you know it. Keep it FUN, but keep it moving forward.

No matter what, have someone on set taking still photos and behind the scenes video daily. Useful for so many reasons.
Best of success
Q

Don't forget to be an actor's director! This means rehearsing, giving them concise, playable direction (tell him, "I want you to plead with her," instead of saying, "I want you to be sad."), and most importantly understanding the script inside out. You are the man with all the answers, be prepared.

A few tips I think that would be helpful that have helped me on smaller projects.

1) If you want your actors to do something a different way, like a line, don't be afraid to tell them; HOWEVER, make sure it's in a constructive nice way. If you are in any way conveying to them that you are dissatisfied, that can wreck their confidence, and spiral downward in their performance. Try something along the lines of, "You know I really liked what you did, but also could you try it this way for another shot, I'd like to see how it turns out."

2) Have someone on the set who you can depend and trust on that you can step aside with if things get too crazy and vent to. It was invaluable for me on just the small projects. I'd take him aside and just go, "I have NO idea what to do about this, holy crap, I'm in deep." After talking to him for a few minutes, being able to step out of the 'big guy director' attitude and just be in the 'what's going on' attitude, helped a lot. I do this because you really don't want to break down like that in front of the crew or actors lol... doesn't inspire the best confidence. :)

Get plenty of sleep! (You'll need it!)

Great production sound!

Make sure you're nice to everyone.

A few tips I think that would be helpful that have helped me on smaller projects.

1) If you want your actors to do something a different way, like a line, don't be afraid to tell them; HOWEVER, make sure it's in a constructive nice way. If you are in any way conveying to them that you are dissatisfied, that can wreck their confidence, and spiral downward in their performance. Try something along the lines of, "You know I really liked what you did, but also could you try it this way for another shot, I'd like to see how it turns out."

2) Have someone on the set who you can depend and trust on that you can step aside with if things get too crazy and vent to. It was invaluable for me on just the small projects. I'd take him aside and just go, "I have NO idea what to do about this, holy crap, I'm in deep." After talking to him for a few minutes, being able to step out of the 'big guy director' attitude and just be in the 'what's going on' attitude, helped a lot. I do this because you really don't want to break down like that in front of the crew or actors lol... doesn't inspire the best confidence. :)
I'm an actor , going into Directing now , and this is some really good advice . I have worked with Directors that , unfortunately , wanted to see the scene play the way they themselves would play it . It causes stress by telling the actor that they're only filling shoes and not appreciated for their ability . As a Director , you must trust that we ( actors ) have the role within us and trusting us to do our job is the best way to get what's needed . Rattled nerves and fallen confidence can spread on set like wildfire and overwhelm your entire production before you know what hit you . Break a leg !

I have a few tips:

* Use a boom mic, and record sound. That's super important for low-budget work. And I know this sounds silly but...the boom mic does extend you know...just holding it in the room isn't going to work...get the mic as close to vocal range as the framing will allow. You'd be surprised how many novice crew members recording sound will just stand there with boom in hand...no where near where they should plant the mic.

* Scheduling is a HUGE issue. Make sure you set a super-awesome, water-tight schedule with your crew and talent. Because no matter how awesome it is...it will fall apart in some way. The tighter the drum, the more easily corrections can be made (and they will need to be).

* Don't hire shady actors. Don't hire crappy actors. Unless you live in podunk Alabama (no offense) and don't have a choice...take your time finding good actors--they will sell your film. OK and of course...don't hire shady crew either.

* Backup all your work...three separate locations isn't an odd thing.

* Don't put together a budget of 50-100K for your first feature. You can make a very solid indie picture for under 10K. Make it happen. Sweat equity all the way!!!

* Don't hold a red carpet fund raiser for your little-big film. It will either fall apart and be a waste of time and money, or when people finally see your little micro-budget piece of junk...they'll understand exactly what hot air is all about. Be humble if your production is humble. You'd be surprised what a tiny little fund raiser in a cool bar can do--you save money, it's not pretentious, and expectations aren't sky high.

* Don't post a crappy teaser or trailer just because you're anxious to get it seen. Wait until you think it's the best it's going to be. Or at least, the best that particular iteration is going to be.

* Feed your cast and crew if they are working a full day on set. You probably won't be paying them...so make sure you feed them. It doesn't have to be awesome food...just make sure it's something.

* Don't put out a poster or flyer with bad graphic design. Your poster is a very important piece that will bring interest and audience members to the link or the seat to see what this bad ass poster is about. Crappy click and stick Photoshop work is a bad bad thing. If you're shooting a feature, spend a few hundred on a quality graphic designer...it's worth it.

* FINISH YOUR WORK

* DO SOMETHING WITH YOUR FINISHED PRODUCT

* Don't go hand-held, just because you think it's cool or edgy. Or because you're lazy. And if you don't have a fluid head for your tripod and you can't pan up and to the side at the same time without a jerking motion...it may be worth it to save for one. Use hand-held sparingly. The tripod is your friend. Framing shots properly is important.

* If the camera moves (dolly, track, pan), make sure there is a reason it's moving.

* Don't put the camera in any location an audience member couldn't be (ie. in a fridge)

* If you're using DOF (lenses and adapters), don't overdo rack focuses. You don't want people to even know you're doing it.

* PERFECT. NOW DO IT AGAIN!

* You can't fix everything in post.


OK...I'll STFU now. Those are just a few of the things I notice on indie work and/or with inexperienced film makers.

Good luck.

I know. I'm a bastard, aren't I?

I know. I'm a bastard, aren't I?

We all are, it's part of being a director, and that was all really good advice.

Okay, just going from personal experience... I'm on short film number 3... I've worked my way up from a no budget short, to a 2000 dollar short, and now I'm on to a huge, ten thousand dollar one...


I'd like to say I have enough experience to give advice, but so little that I still need to take advice. But I'll tell you what screwed me up......


Hire the right people. People with more experience. Here's where it gets tricky... Sometimes they will give you suggestions you don't want to hear. Sometimes you should shut up and listen. But sometimes you better stand your ground.


Tricky figuring out which is which, eh?

Also, preproduction is your best friend.

Hire the right people. People with more experience. Here's where it gets tricky... Sometimes they will give you suggestions you don't want to hear. Sometimes you should shut up and listen. But sometimes you better stand your ground.


Tricky figuring out which is which, eh?

A good crew does their job, and their job only. Crew will rarely talk to the director. The director works closely with the DP (and production designer, and a couple other dept. heads), so suggestions can go either way there, but there is one director, and one vision.

If grips and PAs and making suggestions to you directly you really need a new crew.

The best advice I could give you is LEARN FROM YOUR MISTAKES. The worst feeling in the world is making a mistake over and over again. Just remember that big name actors don't mean they're the best on offer. Be sure to give newbies a start. When it comes to crew, I can't really suggest much... but I would say, don't get stuck with someone who doesn't know how to do his job.
I suppose that this stuff is really just common sense.

If grips and PAs and making suggestions to you directly you really need a new crew.


If that happens, I'll smile, nod, say I'm taking it under consideration, and don't.


I figure being the director is like being the captain of the ship. I'll take suggestions, but it's my decision. When I was hiring crew for Half Fish, I would ask people how they saw the movie. And if they said anything along the lines of "Well, it's more important how YOU see it" I just don't hire them.

I think this is the best way to go, however, it's a dual edged sword. In allowing them to put their stamp on it, you lose yours. So you have to know when to stand your ground, and when to give them some slack. If you did a good enough job hiring, your vision and their vision is pretty well in line anyway.


Does this make a bit more sense?


And yes, I'm talking about the Production Design Team and Director of Photography.

A good director surrounds themselves with brilliant people...this is how the best movies come together. So if this ideal is followed, a director should never be afraid to ask his crew what they think--especially on an independent level. I mean...who do you think you are, Lucas?

I have directors ask me all the time what I think of a shot, or what they should do, or do I have any input...and I'm just a lowly actor (who they know has a lot of experience). The best films work as a team...there are no egos.

Find a 1st AD that you can grow with so in the future they can make your life much easier. A good 1st is 'priceless' . Also if it's your first film find a DP that is as experienced as you can afford, personality type is important you need to get along with him- anyway he can bail you out. I guess it comes down to -hire the best crew you can afford (if your producing your own film). I've seen first time low budget directors have to start worrying about other depts. jobs and can't do their own.

One more thing to consider, and I'm serious: sometimes it's more important to hire based on relationship, personality, and chemistry as opposed to experience or clout. I'm not saying hire your best friend to DP just because you get along...I'm saying keep in mind personality when deciding on candidates.

My one thought:

You get what you pay for.

You arnt going to get a crew of pros for free, you might get a person or 2, but make sure your Keys get payed if at all possible.

My one thought:

You get what you pay for.

You arnt going to get a crew of pros for free, you might get a person or 2, but make sure your Keys get payed if at all possible.

You're talking about larger budget films? Films shot in LA? What?

If you're shooting independent film outside of LA (or even inside)...not everyone is a working professional. What is 'professional' anyway? Union? Well...you'll have to pay union no matter what...but that's all beside the point...my point is...

If you've been working in film for a number of years, you can easily pull together a qualified team for next to nothing. Honestly...we pay very little, even to the main positions...yet still we have people begging to work with us...why? Well firstly we are all really fun cool people, and secondly every feature we've made (8 in the past 5 years) has seen distribution. People with years of experience as a lighting designer or grip work for peanuts with us. Yes we are all friends...that's because it's about forming relationships, and making a movie as a 'team.' I know I may sound weird to some of you guys...and we may not be the norm...but it's true. And believe me I'm not giving you the 'nanner nanner boo boo' routine...I'm just telling you it's possible to find a qualified team for next to nothing. It may not happen right away...but if you're serious about your work, and are fun to work with...word gets out. I mean we've occasionally used 'name' actors like Debbie Rochon, Lynn Lowery, Ken Foree, Jeff Dylan Graham...and we'll put them up and pay them...but that doesn't break the bank, nor do they cost THAT much. And on occasion we'll pay the main actors ($250-$500)...but everyone is pretty lax about that. Every now and then some of the actors or friends will invest...and when we make DVD sales or profit from screenings we'll pay them off...but there's no rush.

And just to be clear...our company (Scorpio Film Releasing) isn't making mad loot and pocketing the profits as we sip Crystal in the hottub...we use every bit of profit for the next feature. It's all very humble, and it's all about making feature after feature (and just for reference our last feature cost 8K total--which may seem like the catering budget for some films--but we were just picked up for national distribution, so it's all relative I suppose). Damn...I sound like an ass, don't I? I swear I don't mean to. lol. It's just for your info, and as a reference as to what other production companies are doing...

I'm talking about freelancers who do it for a living.

Sure, you can get great people to work on a feature for free, but most freelancers who have years of experience and reels to prove it, don't usually work for nothing.

That's how it is in NYC atleast.

I'm talking about freelancers who do it for a living.

Sure, you can get great people to work on a feature for free, but most freelancers who have years of experience and reels to prove it, don't usually work for nothing.

That's how it is in NYC atleast.

Gotcha. Freelancers. Non-friends to the company. Absolutely, you'll have to pay them...I think my point was if you find people that you know and who are in the same boat as you are, frequent the community, and you respect one another...you can get away with paying very little...or nothing at all. It's a collaboration...

And these 'freelancers' aren't always the most talented either...keep that in mind. Professional experience or university credentials sometimes have nothing to do with talent. I know that sounds messed up to say...but some of the most talented people I've worked with are local talent working for free...

But then again...I've never worked on a big budget film (I don't count background work).

Have a great weekend everyone!!! Holiday weekend for some of us.

That's what reels are for :P

But I totally agree, I have some friends who I met in the industry that will work for me for free(most of the time). I try to pay them a little something, because that is how they live and it's a sign of respect.

I respect their time/work.

remember your in charge, so dont take shit from anyone and keep tha producers away whilst shooting those suit bastards only care about money

Unless the producers are working for free on a no-budget production, but everyone is treating it like a big professional shoot... which is really what we do. The producers are required to be on set to deal with any problems that come up with stuff they've "produced".

* Don't put the camera in any location an audience member couldn't be (ie. in a fridge)


M1chae1 - I'm with you 100% on the advice in this thread. Great stuff in there - especially "Finish your work" and "Do something with the finished work."

The quote above though, I'd call that more of a guideline than a hard and fast rule. Dropping the camera where a human could never fit (like looking up from inside the drain of a sink for example) could be the one shot that really sells the scene - depending on the scene. It's one of those things that 99% of the time wouldn't make sense, or would make the audience too aware of the craft, but that 1% of the time it could be gold.

Just a thought. As far as advice from me - not that I am remotely qualified to give it - two things:

1. Be willing to trust your key crew and your cast. Always be able to recognize when someone's idea is just flat out better than your own. Or, more likely, the collaboration may end up stronger than the 'vision.' Again, a guideline. Conversely you should also be able to trust your vision when you know it is the way to tell the story.

2. From a general people management perspective: Praise in public, reprimand in private. This is probably not the way most film crews work (not enough experience from me to be able to tell), but nothing ruins someone's day (or week, or entire shoot) more than sitting through 5 minutes of a director/AD/manager/supervisor, or whatever belittling, screaming, and demeaning them in front of the entire crew (or office).

Good stuff in this thread, let's keep it going! Hope this wasn't too presumptive for my first post!

--David

M1chae1 - I'm with you 100% on the advice in this thread. Great stuff in there - especially "Finish your work" and "Do something with the finished work."

The quote above though, I'd call that more of a guideline than a hard and fast rule. Dropping the camera where a human could never fit (like looking up from inside the drain of a sink for example) could be the one shot that really sells the scene - depending on the scene. It's one of those things that 99% of the time wouldn't make sense, or would make the audience too aware of the craft, but that 1% of the time it could be gold.

--David

Yes, David, you're right. There are certain instances where putting the camera in a unique spot (POV of the action at hand) can be advantageous. It can look really cool, and can 'sell the shot.' I agree. I've seen a handful of these cases...

I only brought it up to begin with, because it is one of the 'rules' I was tought by a veteran director. A director that's worked in film and television for 15 years. And when he told me...it made sense. I too agree that placing the camera in an odd location can add 'interest' to a shot...but I also see his standpoint.

I think the key to many bits of advice--just as in many other trades--is to learn the rules, and then when you've mastered them...then and only then are you free to break them.

because it is one of the 'rules' I was tought by a veteran director
Rules? Let's say guidelines ;)
The only rule is there are no rules.

Rules? Let's say guidelines ;)
The only rule is there are no rules.

True. Guidelines. I stand corrected.

I like how we are all agreeing to agree. :lol:

Back to tips though, does anyone have a specific thing they learned on set that has helped them later on? Perhaps a pitfall that you solved on the spot, or a way of describing something to keys or to cast that really helped?

remember your in charge, so dont take shit from anyone and keep tha producers away whilst shooting those suit bastards only care about money

Your advice to "keep tha producers away whilst shooting"
seems unprofessional to me. At the very least it seems short
sighted.

On a purely professional production - where the suit bastard
producer cares only about money - it's good to remember it's
because of the hard work, dedication, skill, commitment and
contacts of that suit bastard producer that the director has a
job.

Your advice to "keep tha producers away whilst shooting"
seems unprofessional to me. At the very least it seems short
sighted.

On a purely professional production - where the suit bastard
producer cares only about money - it's good to remember it's
because of the hard work, dedication, skill, commitment and
contacts of that suit bastard producer that the director has a
job.

Also, on smaller productions--i.e. a company I work with all the time--the 'suit bastard' might be married to the director. :)

good thread. thanks guys

...because it is one of the 'rules' I was tought by a veteran director.
Rules? Let's say guidelines ;)
The only rule is there are no rules.

Rule #1
There are no rules except this one

"The first rule of Fight Club is: everyone *has* to bring something for pot-luck Mondays."

-Tyler Durden

be humble.

If grips and PAs and making suggestions to you directly you really need a new crew.An excellent recipe for an upward-spiralling budget.

I have enjoyed reading SoulCinema's posts! I would add, coffee. Lot's of coffee. People have to have their caffeine drug to get going or keep going. The more coffee you have on a set, the easier the the cast and crew are to work with. They may be jittery from too much coffee but at least they are happy. Also, learn how to use a camera, well. On my first film, the camera guy cancelled after the cast had arrived! I read the manual and talked to another camera guy in tokyo while I was actually making the movie! Talk about tense! Now I wouldn't let another cameraman near the main camera! I know my cameras and how I want the scene to look and if I shoot the scene, watching the dailies is more a matter of looking for something out of frame that i didn't notice or looking for technical problems than deciding which takes to use because I saw the best take through the lens and know which one it was!

I have enjoyed reading SoulCinema's posts! I would add, coffee. Lot's of coffee. People have to have their caffeine drug to get going or keep going. The more coffee you have on a set, the easier the the cast and crew are to work with. They may be jittery from too much coffee but at least they are happy. Also, learn how to use a camera, well. On my first film, the camera guy cancelled after the cast had arrived! I read the manual and talked to another camera guy in tokyo while I was actually making the movie! Talk about tense! Now I wouldn't let another cameraman near the main camera! I know my cameras and how I want the scene to look and if I shoot the scene, watching the dailies is more a matter of looking for something out of frame that i didn't notice or looking for technical problems than deciding which takes to use because I saw the best take through the lens and know which one it was!

That’s good that you took responsibility, and jumped in as camera op and DP…just be aware, having the technical knowledge to use your camera does not make you a qualified DP or camera op. So many people think they can shoot a film, but they don’t realize how many little errors they are making. Balance, framing, movement, proximity, timing…even something as trivial and obvious as white balance.

DPs and camera ops who have been doing it for years don’t even have to think about many of the things beginners screw up with. The Director I work with a lot shoots his own films because he can’t find a DP/camera op that is not only quick and friendly…but someone who knows how to move and frame a shot properly. It seems easy right…people think, ‘hey I know what looks good, I watch a lot of films…I went to film school…’ But I can’t tell you how many times when trying out new DPs where the Director has called cut and told the DP that he needs to frame it more to the left, or right, or more head room, or center. You’d be amazed at how an inch here or there makes all the difference to a trained eye.

Also, you’ll save much more time getting an experienced DP/cam op because many times they won’t even need storyboards or a shot list…they’ll run through the scene angle to angle, knowing exactly what coverage they need. Often times novice shooters and DPS will take way longer than they should between setups or angles…

Anyway…find a talented, experienced DP/cam op…who believes in you and your projects—it’s worth it.

Good luck.

Wow, I just read through this whole thread, and a ton of great advise.

I think my biggest piece of advise to add to this is the pre-production thing.

Prepare every detail, analyze that script up and down. Be prepared for all possible barriers. Set guidelines to limit issues and maximize efficiency. The last thing you want to do is force the nice people who are working for free (food+drinks) to sit around while you try to figure something out.

Plan, plan and plan some more. Having everything ready in advance will instill confidence in all, and make life SO much easier.