Shooting a movie can be a fun activity to do with friends, or something to do very seriously. In any case, it is a process that takes some time, between choosing a script, casting and filming the film, but once you learn the basics, you will be ready to go. Go to the first step to start your directing.
Steps
Part 1 of 4: Prepare to shoot
Step 1. Choose a text
A good script can enhance even a mediocre director, so choose wisely. You can also write one yourself, if it's something you enjoy and are able to do. When writing or choosing text, there are a few things to consider in order to choose the best text possible.
- Structure is the key to a good story. The 3-act structure is commonly used by screenwriters to get a good story. It works like this: setting (First Act), conflict (Second Act), solution (Third Act). The main turning points occur at the end of the first and second act.
- A good text shows more than it says. You want the audience to try to guess what happens based on the body language of the actors, what they wear, what they do and how they say the lines. Scripts are, by nature, extremely visual.
- Each scene must be introduced by its relative temporal and spatial setting (for example: INTERIOR NIGHT - LIVING ROOM).
- In describing the action, all you are specifying is what will actually be seen on stage. For example, instead of writing “John walks into the living room. He is angry because his girlfriend left him ", you will write" John walks into the living room. He slams the door behind him and kicks the sofa”.
Step 2. Make a storyboard of the script
The storyboard is essential to decide the best way to direct each scene, the angle of the shots, how you want it to appear. You won't have to follow it to the letter during filming, but it will provide you with a starting point.
- In the storyboard you will include: which characters are present in each shot, how much time passes between one cut and the next, where is the camera (MdP) in the shot (type of shot).
- Your storyboard doesn't have to be perfect. It simply has to give you an idea of the script and how it should be shot.
- Set the tone of your movie. A raw film about a private detective in the 1920s will have a very different atmosphere than a frivolous comedy about the risks of parenting. A great way to make your movie fail is to change the tone halfway, suddenly turning comedy into tragedy without warning. It doesn't mean that a comedy can't have tragic elements, or vice versa, but your film, especially if you're in your first directing, should focus on one tone.
Step 3. Look for funding for your film
You can't make a film without some form of funding, especially if you want it to be a film not only aimed at your family. The necessary equipment is quite expensive, you will need accessories, locations, actors and technicians. Each of these elements has a cost.
If you intend to go the independent way, you should still look for a producer for your film, someone to take care of the financing and find the locations to shoot
Step 4. Choose the actors for each role
On a low budget, you will probably have to do the castings yourself, but otherwise it's a good idea to hire a casting director to do the job. Usually a director has access to multiple means of finding the right actors for your project.
- You want people with experience and who know their stuff. Theater actors are not ideal, since theatrical and film acting are completely different.
- There are up-and-coming actors who are not very expensive. You are looking for charisma and talent. It usually means not hiring just your friends (unless you're directing just for fun - in this case, go for it).
Step 5. Find the locations, objects and materials
Films require places (a room, a living room, a street corner, a garden …) in which to shoot. Sometimes you can get them for free and other times you have to pay. Likewise, you will need props, costumes, tricks and materials to shoot (microphones, cameras, lights…).
- If you have a producer, he will take care of that. He will have to make sure that there is everything necessary and permission to shoot in certain places. Otherwise, you'll have to do it on your own.
- If you're on a really tight budget, talk to friends and family. Maybe you know some good makeup artist willing to help you, or maybe your aunt has a bunch of period clothes in the attic.
Step 6. Plan properly
If you don't have a clear idea and plan for how you will shoot and what it will look like, it will be a complicated process. You need to have all the details outlined and you need to know everything it takes to make the shoot go right.
- Make a list of the shots. It is basically a numbered list of all the shots of the film, in which you describe the shots, the fires, the movements of the camera and the elements to be taken into consideration (any concerns during the shooting). You can also combine it with the storyboard, as you are more comfortable.
- Do a detailed analysis of the script. It is nothing more than the process of identifying every single element necessary for the shoot, including locations, objects, effects … Again, it will be easier with the help of a producer.
- Carry out the inspections with all the technicians. It means visiting the locations and covering every single shot with the technicians so that everyone knows what to expect in each shot. You can discuss any problems (things like special lighting, sound impediments…).
Step 7. Plan your shoot
If you can hire a good assistant director, it will be useful to you. He's the person who curries the actors if necessary, and does things like keeping the production diary with all the notes, even during site visits, and planning the shoot.
Planning basically involves setting the calendar for when the individual scenes will be shot. It is almost never in chronological order, but usually has more to do with lights or camera settings
Part 2 of 4: Working with the Actors
Step 1. Test the script before shooting
It seems like a very obvious step, but it is really important. When it comes time to shoot, you want the actors to be comfortable with the lines and positions.
- Start with a stage reading, where you and the actors sit around a table and walk through each scene. They will get to grips with the words and with you and with each other, which will make filming a lot easier.
- Highly accomplished actors don't necessarily need a lot of rehearsal before shooting and it may be best not to try too much emotionally demanding scenes so they are fresh for the actual shoot, but it only works with experienced and talented actors., so if you're working with amateur actors, rehearsing the script before shooting is a good idea.
Step 2. Make sure the actors have learned the lines
An actor cannot perform at his best without knowing the script from top to bottom. You don't want them to arrive on set on shoot day without knowing their lines. This is why evidence is so important.
Step 3. Explain the underlying meaning of each scene
That is what happens in the scene in addition to mere dialogue. It will also suggest to the actor the true intentions of his character, in the scene and in the film, which will define your directorial choices.
- The less you do, the better when you act in a movie. You want your actors to have a strong presence that emerges even when they're not doing anything. An actor able to draw the audience's attention to the character without doing much.
- For example: John, our angry protagonist, will be played differently if he hates his fiancée for leaving him, or is still in love with her (or both).
Step 4. Be quiet, focused and clear
The idea of the gruff and screaming director is nothing more than a cliché. As a director, you are in control (if you don't have a producer), which means everyone will come to you looking for your quiet, detailed directions.
- This is why the analysis of the storyboard and the script are so important. You can consult them for each scene and to show what you have in mind to whoever is working for you.
- Remember that a film is made thanks to the contributions of a lot of different people, even if the director and the actors take most of the credit. It is better not to think that you are the most important thing on set, when interacting with actors and technicians.
Step 5. Provide precise instructions
This is for the actors. If you have explained the meaning and your vision of the film to the actors, they should have no particular problems in fulfilling their duty within the scenes, but it is important that you give precise instructions, even "try to repeat the line faster".
- Take lots of notes. On the shooting list, write down in detail the essential things that the actors will have to do. The more precise and detailed you are in your notes and requests, the easier it will be for the actors and technicians to realize your idea.
- Report negative or detailed comments to actors privately. You can even do it in public, as long as the actor concerned can hear you. This way no one will be offended or embarrassed.
- Be sure to make positive comments. Actors like to know that their work is appreciated and that they are doing it right. Make sure you let him know, even if it's something as simple as "I liked what you did in this last scene; we try to do it again when we shoot it ".
- Sometimes, working with a very good actor, it is better to let him free without too many directorial indications. While it may not always go as planned, the scenes and the film itself have the opportunity to follow new and original paths.
Part 3 of 4: Shoot the movie
Step 1. Learn the different types of shots and framing
To direct, you will need to know the different types of shots and shots and camera movements so that you know how to shoot and what you are trying to achieve from each scene. Different angles and shots change the atmosphere of a scene.
- The shot (or composition): very long shot (usually a setting shot, up to 400m away), long shot (a “life size” shot that corresponds to the distance between the audience and the screen in a cinema; focuses on the characters and images in the background), medium shot (usually used for dialogue scenes or to focus on a certain action, and usually contains 2 or 3 characters from the waist up), close-up (this shot focuses on a face or an object leaving the background out of focus, usually used to enter the mind of a character), very close-up (usually focuses on a particular detail such as the mouth or eyes, to give some kind of dramatic effect).
- The angle determines the relationship between the MdP and whatever is framed and provides emotional information to the public about the framed object or character. The bird's-eye angle - plumb (shows a scene directly from above, putting the viewer in an almost divine position, and making otherwise common subjects unrecognizable), from above (the MdP is placed above the action for half of a crane and gives a kind of overview of what is happening), horizontal (it is a more neutral angle, with the camera in the shoes of another human being observing the scene), from below (tends to give a sense of helplessness or confusion, and since seeing an object from the bottom up can cause fear or disorientation), three quarters / oblique (used in many horror films, this shot gives a sense of imbalance, transition and instability).
- Machine movements slow down the action more than clean cuts, but can also give a more "realistic" effect. Pans or "pan" (horizontal movement), inclinations or "tilt" (vertical movement), trolleys or "dollies" (in which the camera follows the action on some type of mobile vehicle), manual shooting or " steady "(the steadycam makes shooting without a tripod smoother, preserving a sense of immediacy and realism), cranes or" cranes "(more or less like trolleys, but overhead), zoom (the magnification of the image changes along with the position of the point of view, slowly or quickly), aerial (a shot similar to the crane, but taken from a helicopter and usually used as the first shot at the beginning of the film).
Step 2. Respect the invitations
These are the times when the staff starts setting everything up. If you have an assistant director, your presence isn't that necessary, but it's a good idea to introduce yourself anyway. You can start thinking about shooting for the day and considering the best way to do it and whether to change something.
Step 3. Try the recovery
Before starting to shoot and while the technical staff is preparing the equipment, walk the scene with the actors and analyze what they will do in relation to the MoP (where they will position themselves, what kind of shots you will use, how the lines will say).
Experiment with the viewfinder to get an idea of the different shots. At this point you may want to change and redefine some of your shots and framing to get the best possible scene
Step 4. Set up the shot
For each take you will need to know the focal length, the position of the camera, the signs of the actors (where they need to be, etc.), which lenses to use and the movements of the camera. You will set up the shot, using all these different considerations, with the cinematographer.
Now, depending on the type of director you are and the type of cinematographer you work with (maybe you make the decisions about the shoot), you will have to give more or less directions. Confront the lights and camera movements until the scene is ready to be shot
Step 5. Shoot the scene
The shoot does not take long and it is usually a short scene that is shot. Walk around the scene, using camera movement and positions, etc. already analyzed with the director of photography. When you shout "Stop!" you are ready to review the scene to check its quality.
Step 6. Review the shot
Reviewing it immediately on the monitor allows you to think about how to do it better, how close it is to your original idea. Then you will repeat the scene until you feel satisfied.
This is very different from reviewing the scenes in the editing room afterwards. There you have the time, the clarity and the perspective to see every single thing you could have done to make the scene better
Part 4 of 4: Finishing touches
Step 1. Edit the film
What you are trying to do at this point is to put the shot pieces together smoothly, harmoniously and consistently. As a general rule, you'll want to cut down on downtime so you don't bore viewers. It means that you will cut between shots right in the moment before something happens (like John opening the living room door). You will combine the first part of John's wide shot movement with the second part taken more closely.
- Cutting in the middle of a movement is a typical revealing take. For example, medium shot of two men talking, one of them moves and reveals a close-up on the antagonist's face.
- Cut to an empty frame, where the subject enters. For example, this is often used with someone getting out of a car, where you only see their foot. The foot enters the empty frame.
- Remember, while cutting, that it takes about 2 frames (about 1/12 of a second) for the human eye to have time to move from one side of the screen to the other.
Step 2. Compose the music
For your soundtrack, you'll want to make sure it's a good fit for the movie. There is nothing worse than music that contrasts with the tone and appearance of a film. When discussing music with your composer, discuss aspects such as musical genres, instruments, speed of music, attacks, etc. A composer needs to understand your conception of the film in order to do an appropriate job.
- Listen to the drafts the composer submits to you, in order to keep track of developments on that front and any necessary changes.
- Now, if you are composing the music yourself, you need to verify that it is not copyrighted music, as you could get yourself into trouble this way. You will find many inexpensive composers around. It won't be a professional level (but the movie probably won't be either), but it could still lead to a good result.
- There is a difference between sound effects and soundtrack. The soundtrack is pre-recorded music that adapts to a scene or sequence for content, rhythm and atmosphere. Sound effects are music or sounds that specifically accompany certain images or details of a movie (such as the most famous sound from the movie Jaws).
Step 3. Mix the sound
It means making sure the soundtrack matches the finished and edited product. It also means adding sounds that need to be added, or enhancing existing sounds. You can cut out sounds that shouldn't be there (like a passing plane) or add the missing sounds.
- A sound is called "diegetic" when it is produced by something visible to the audience in the frame or scene. Although it is usually recorded during filming, it is almost always increased afterwards, along with the addition of ambient sounds (outside or inside) to cover things like a passing plane, but without turning background noises into unnatural silences..
- A non-diegetic sound comes from outside the frame, as happens with voiceovers or sound effects / music.
Step 4. Show your finished movie
Now that you've shot and edited your movie, and added all the sounds, you're ready to show it to the world. It can mean inviting friends and family to see your hard work, but you can also usually find other bargains, especially if it's something you are proud of.
- Many cities and states have film festivals that you can attend. Depending on the quality of the film, you may even win, but it will be seen by a wider audience than just friends and family either way.
- If you have a producer, he will usually take care of it and you will not have received approval on your project without some scheduled distribution at the end of the work on the film.
Advice
- In correcting the actors, be stiff, but not snappy. You have to be respected.
- In case you really intend to become a director, you should study your favorite films to see how they were shot and how the actors were handled. You should read scripts and books on the subject, such as The ABCs of Directing.
- Taking acting lessons is a great way for directors to learn the ups and downs of actors' lives and will make it much easier to direct them, as you will have common methods and languages to work with.
Warnings
- If your actors aren't comfortable with you, you won't have a good experience or a good movie.
- You won't get a blockbuster on your first directorial experience. If you're going to get serious (and not just for fun, but that wouldn't hurt!) You'll have to work hard, and probably enroll in a film school.
