How to Make a Movie

Not too long ago, just about the only people who had the ability to make a movie were studios and production companies which had the budget, connections and infrastructure to do so. The reason things were set up this way was because not everyone could afford to pay thousands of dollars to purchase a camera, set up an entire post-production infrastructure, or work out distribution deals that were the only real way a film would ever turn a profit. Because of that, many careers were stifled or ended before they even had a chance of starting.

Things have changed in the film industry, and the least of those changes is that actual film is practically extinct. What’s more, people can and are shooting professional films with their phones. You can edit and animate an entire film with software for less than $50 a month. YouTube and other digital platforms have given anyone and everyone a place to showcase content and build a following, and OTT’s are just one example of the many ways that content can be monetized. To say that we’ve experienced a paradigm shift is underselling the change the industry has seen.

The democratization of filmmaking tools has opened up opportunities for everyone, but that process has also created confusion around the approach filmmakers can and should take. Figuring out what to do can be a daunting task for anyone, regardless of their experience level, and every project is going to come together in a different manner. Nonetheless, there are a number of things that you absolutely need to make any film project a reality.

You Need an Idea

GoPro HERO 3

Cameras like the GoPro HERO 3 help make filmmaking more affordable.

If you’re thinking about making a movie, you probably already have the story idea, and might have even written out a summary. If you want to getpeople on board with the project though, you’ll need a full script. Whether it’s a 30 second commercial or a theatrical feature, everything always comes back to script, and having it in the correct format to show to anyone involved in the project is essential. There are various screenwriting software products that can help a filmmaker lay out their story in the appropriate format, as well as markup software which allows multiple people to offer insights about what has been written in a concise and easy to organize format. They make the scriptwriting process infinitely simpler.

The success or failure of a film is often dependent on the script and the story, but even at this early stage, you have to consider how the budget is going to impact that script and story. Does it take place in a single setting or does it have multiple locations? If it’s multiple locations, that could be costly. Does it focus on a single character or is it more of an ensemble? A variety of actors usually means a bigger expense and more complicated production. I certainly wouldn’t advise anyone to betray their idea in the name of logistics, but trying to pull something off when you can’t is a trap that ruins projects and careers.

It can be a good idea to start with those logistics and work backward. If you have a friend with an amazing house, why not set your story there? Or you can incorporate characters that friends or family can play. It’s better to consider such things at the beginning, before the story is set on a far distant planet, which hasn’t been budgeted for.

You also have to consider what sort of market your story is going to have. Such considerations might be objectionable to anyone who is committed to telling a particular story, but the reality is that if you want to work as a professional or with professionals, you’re going to need to think about such things.

Some products to consider:

You Need a Plan

This is an area where many people have trouble, because things like budgets, contracts and schedules are the sorts of details that creative professionals don’t want to deal with, or assume will sort themselves out. Regardless of what anyone wants to believe, these things have to be dealt with, and they will never sort themselves out. Thinking or believing otherwise is only going to cause problems, or will completely derail a project.

That said, there are tools that can make this process so much easier than it was even a decade ago. There are countless budgeting programs that will keep everything straight and organized, so the only thing you have to do is enter numbers. Scheduling programs just need the variables entered to kick out call sheets that can instantly be distributed. You can even download free spreadsheets online, which allow you to easily drop in project relevant info.

Outside of logistical considerations though, pre-production is an area that is so often glossed over but can be the difference between a project being critically over, or vastly, under budget. If you can figure out previsualization (previs) before you’re on location, you’ve saved an incredible amount of time that can be utilized for something else. Professional cinematographers are using Google Earth to location scout, so that they can arrive on-set and be ready to go. Apps like Cinemeter allow them to quickly gauge what they’ll need for lighting without having to bring a light meter. Storyboarding can help a director figure out what they want to do, even if they end up deviating from it once they begin shooting.

The point here isn’t to say that every single office supply needs to be a line item in a budget, or that you need to know exactly what your plan is with a scene before you begin shooting. Things do need to be organized though, and anything you can do to even out a budget or work out before you’re on set, will help the overall project exponentially.

Some products to consider:

You Need a Camera

Sony FS7

Those cameras that cost many thousands of dollars to rent or purchase are still out there, and they can capture some pretty amazing footage. On that high end, most major motion pictures are still using cameras made by ARRI, and if you’re using something like an ALEXA, you’re not going to need to worry about how to make a movie, because the odds are you’ve already made plenty.

Companies like GoPro and Blackmagic have completely changed the game with cameras that can go practically anywhere, are relatively inexpensive and most importantly, can still capture some great looking imagery. Cameras from companies like Sony, Canon, RED and Panasonic are somewhere in the middle of those extremes, but the capabilities of each vary just as widely.

Cameras get the most press of any piece of production equipment, and it’s easy to see why. Everyone wants to talk about the newest camera with the incredible new features which will allow you to shoot just about anything, because the concept is that these capabilities will allow filmmakers to create a better project. It’s easy to get caught up in that excitement, but you really have to do your research in this regard. Some cameras are more versatile than others, but in some specific settings you’re going to get much better footage with one camera versus another. You’ll need to figure out what aspects of your project are most essential, and choose a camera that allows you to showcase those essentials.

Lenses are a topic that gets glossed over while we’re caught up in hardware capabilities, but it’s the lens that really defines what you can do with that camera and how you can use it. Anamorphic and ultra-wide angle lenses will allow you to grab some unique imagery, but just like the right camera is best for the right project, the same goes for the lens and a particular shot.

Blackmagic Design Pocket Cinema Camera

The reality is that it’s all about the right fit for the right project, and that depends just as much on people as it does on hardware. A seasoned pro could make something shot on an iPhone look great, while someone without experience probably wouldn’t be able to take advantage of the capabilities that an ARRI camera presented. On top of that, there are certain projects that call for a certain mood or style, and certain cameras are going to enable those moods and styles much easier than others. Camera testing and research are critical, as they’re what you need to reply on when making these critical decisions.

Some products to consider:

You Need Some Gear

If you’re shooting your project on an iPhone and don’t have the funds to even feed yourself lunch when you’re out shooting, your budget is obviously going to be limited. Nonetheless, even having the barest of essentials is going to create options that absolutely would not be there otherwise, and that can represent a huge difference in terms of what you’re able to achieve.First off, you need a light source. Take it from someone who has tried to cope without one, and simply shifted what they were shooting into the most ideal light. It doesn’t work. Or at least it doesn’t work nearly as well as it would if you had a light. Creating a mood or look is all about getting the lighting correct, and that means using your light meters and light stands. It means being able to take advantage of time of day lighting but still being able to recreate the light if and when necessary. It means being able to control what’s in the frame, rather than allowing it to control you, and that all comes back to the lighting.

Rode Microphones VideoMic Pro Compact Shotgun

There’s also plenty of nuts and bolts material that just make things easier, such as bounce cards, magic arms, gaffer tape and monopods/tripods. There are always going to be certain shortcuts you can take on a project, but one area you never want to undercut is your audio. Always, always make sure you’re capturing what you need at a quality you need it, and never rely on a cameras’ internal mic. That can mean using a boom pole or maybe just shotgunning the camera mic, but if your audio doesn’t sound right, everything about the final project will be negatively impacted.These are things that can simply be tossed into a camera bag as a single item or be purchased as entire kits that have everything in them. No matter how many you bring or have available, these are the tools that are going to help you solve problems during production as they arise.

You can go crazy with this kind of gear or keep it very limited, and there’s an argument to be made for both sides. How much you can or can’t do will likely be dependent on your budget, but always split out what falls into a “necessary” category as well as “optional”.

Some products to consider:

You Need to Get the Project into and Through Post

Many professionals throughout the industry have lamented the death of film, but the destructive editing system as it existed, where editors literally had to cut film and then splice the frames together, was both arduous and time consuming. Granted, we lost something with the creation of non-linear editing systems, but I’d argue that we gained things which in the end are much more beneficial.

Chief among those gains is simply the price of these tools, because they are incredibly affordable, and they’re all you really need. Sure, taking the project through a color correction session or an audio workstation would be preferable, but it’s not absolutely necessary. You can create something that’s ready for distribution using nothing but your NLE, and that’s an incredibly powerful thing.

Depending on how much you shoot, editing can be an arduous process, and because it doesn’t actually cost anything to keep the camera rolling when you’re shooting digitally, editors have to slug through more footage than necessary. If you’re the only one shooting and editing that footage, keep it in mind.

Not too long ago many editors were committed to one NLE or another and would get into arguments about which was “better”. These fights never went anywhere, because there weren’t many places to go. Much like cameras, every NLE have their advantages and disadvantages, so the question is more about what a filmmaker or editor feels will allow them to unlock the essentials of the story in the most effective manner possible. The editing process is a creative endeavor, and don’t ever believe otherwise.

Some products to consider:

You Need a Way to Monetize the Project

The dream and goal for the vast majority of filmmakers is to be able to make a living in this field. Sure, there are some rich outliers who just want to make art for art’s sake, and if you’re one of those people or you’re fine with film being a weekend project, then great. For everyone else though, how money can and will be made on a project is of utmost importance.

This goes back to the planning that went into a project before it began, as it’s important to consider such things in the beginning. What sorts of projects are currently popular with audiences? What is distribution going to look like? You can always get your film out there for free, but then is the idea to build up a network which will allow you to monetize a future project? Or to have the project serve as a showcase for your skills? All of these questions need to be consciously considered.

Many people have films like The Blair Witch Project and the original ParanormalActivity in the back of their heads, as those films were created for virtually nothing but went on to gross millions. The reality is that those films are outliers, and you can’t expect those sorts of results. Some of the biggest names in the business didn’t start off their career with huge successes, but they used each project as a stepping-stone to the top.

That career progression is a perfect illustration of what most professionals deal with in one manner or another, because it takes time. If you’re looking for your just completed film to bring you a windfall of cash, you’re going to be in trouble. Monetization can be a long process that stretches across many years and multiple projects. Some might be discouraged by that reality, but like any creative endeavor, film making is more about the journey itself.

Some books about the film making journey to consider:

You Need to Make It Happen

To say I’ve overly simplified what it takes to make a movie does a disservice to the term. There are all sorts of details and nuance that I haven’t even hinted at, and such considerations can be the difference between a project coming together or not. There are plenty of places you can go to drill into such things, but all the instruction and detail in the world will only go so far. At a certain point all that matters is the bottom line reality of your film, and whether or not you’ve been able to create it.

With that being the case, it’s important to remember that there are more people than ever competing for the same jobs and positions. Film festivals will have thousands of submissions for only a few hundred spots. Billions of dollars are spent every year now on movies that will never get distribution, and will ultimately result in a financial loss. I don’t say this to discourage anyone from pursuing their dream, but to quantify what everyone who wants to make a movie faces. It’s an incredibly competitive marketplace.

It’s for that reason I wouldn’t recommend someone jump into a project without knowing what they’re doing and just assuming they can learn along the way. There are environments that are specifically set up for that kind of education, and they’re called schools. We have a hundred years of film history and education out there, and ignoring it isn’t going to help you. In fact, not knowing such things is going to make you look foolish when you’re being compared to people who do have that knowledge and insight.It’s a bottom line world though, and regardless of whether you’ve gone to film school or are just looking to make a movie, the opportunity to do so is in front of you. Making a film on your own is an arduous process that involves an incredible amount of effort and drive, but it is possible. In the past, filmmakers had to work with studios or production companies to make that reality happen. Now though, that opportunity is available to anyone. The chance to see our artistic vision realized on-screen sits in front of all of us, waiting to be realized.

Regardless of your experience level, you’re going to make mistakes when you’re making a film. It’s not going to be easy. You’re going to be overwhelmed. Nonetheless, with the kinds of tools and distribution methods we now have access to, there’s no excuse to not go out and make the movie you always wanted to make. So go do it.