This is the Ultimate Filmmaking Guide.Have you always wanted to make a film but just never had enough moolah? Worry not, this e-guide will help you along your impoverished way.

1. AISFM 1

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Contents
Chapter 1 �3
So you want to make a movie, eh? �3
Top tip �3
Chapter 2 �4
Do you have an idea? �4
Top tip �4
Chapter 3 �5
Well, you do need a script �5
10 Rules of screenwriting �5
Chapter 4 �6
Create a storyboard �6
Simplify the storyboard �6
Chapter 5 �7
Get people to work for food! �7
Chapter 6 �8
Make your own sets �8
Chapter 7 �9
The cheapest cameras for indie filmmakers �9
Chapter 8 �11
Rig your own lights �11
Awesome tips �11
Chapter 9 �13
Shoot it like you hurt it �13
Chapter 10 �14
Edit for free, yes for free! �14
Chapter 11 �15
Flog it like it’s a dead horse �15

3. So you want to make a movie, eh?
After months, if not years, of procrastination, you’ve finally decided
to make your very own short film. You feel great, your parents and/or
partner are ready to disown you and your friends are either facepalming
you on Facebook or itching for a role. Either way, you’re ready to
rumble, but wait…what’s that? You’ve got no money? Worry not, there
are ways to make a short on a budget that’s so small even shoestrings
are embarrassed to be seen next to it.
You’ve taken your first step towards fame, or infamy, now it’s time to get
things in order so you can make like Gigli and….
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Top tip
Have a “home base” location during production.
When you’re filming, much time is lost to loading in and wrapping
out. When you need to shoot 5, 6, 7, or even 8 pages a day, you
will rue the time your crew spends lugging c-stands up a four-story
walk-up. Write one primary location into the script. Somewhere you
can shoot (for free) for perhaps half of your shoot days. The shoot
days spent here will be walk-aways. You can pre-light. If you’re
lucky, you can even use this spot during prep as your production
office/rehearsal space/wardrobe and art staging.
Chapter 1

4. Chapter 2
Do you have an idea?
If you’re going into this project with nary a thought in your large skull,
then you’ve got serious issues, so make sure you have an idea. Is your
film going to be a drama, comedy, horror, documentary, thriller, saucy
teaser? Decide now and forever hold your peace.
If you’re having trouble deciding, think about the films you and your
friends like to watch. That’s usually a good indicator of the path you
should tread.
Top tip
There’s no excuse for bad production values.
In today’s world of $3,000 pro-sumer cameras which produce
images that look shockingly good, there’s no excuse for a movie
that looks like crap. People always come out of my work-in-progress
screenings bowled over by how good/big/real the
movie looks. If you’re going to go through the tremendous
effort of making a feature, it had better look and feel like a
“real” movie.
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5. Chapter 3
Well, you do need a script
Once you’ve got the basic plot in your head you need to convert
it to a script, or screenplay if you want to be really fancy. Log on to
the Web and go through the scripts of some of the movies you’ve
enjoyed. Figure out how they construct it and go for it.
You may not get it right the first time but at least you’ve given it
the good old college try. If you feel you’re just not up to the task,
find a friend or family member who’s a reasonably good writer and
ask them to help you out. If they’re really close ask them to do the
whole shebang for free.
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10 Rules of screenwriting
1. All beds have special L-shaped sheets that reach up to the armpit
level on a woman, but only to waist level on the man lying beside
her.
2. If you need to reload your gun, you will always have more ammunition,
even if you weren’t carrying any before now.
3. You’re very likely to survive any battle in any war, unless you make
the mistake of showing someone a picture of your sweetheart back
home.
4. A man will show no pain while taking the most ferocious beating,
but will wince when a woman tries to clean his wounds.
5. When paying for a taxi, don’t look at your wallet as you take out a
bill - just grab one at random and hand it over. It will always be the
exact fare.
6. Kitchens don’t have light switches. When entering a kitchen at night,
you should open the fridge door and use that light instead.
7. Medieval peasants had perfect teeth.
8. Any person waking from a nightmare will sit bolt upright and pant.
9. Even when driving down a perfectly straight road, it is necessary
to turn the steering wheel vigorously from left to right every few
moments.
10. All bombs are fitted with electronic timing devices with large red
readouts so you know exactly when they’re going to go off.

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Chapter 4
Create a storyboard
Once you’ve got the script done and dusted you’ve got to come up
with a storyboard, which will help you during the shooting process.
“A film storyboard is essentially a large comic of the film or some section of
the film produced beforehand to help film directors, cinematographers
and television commercial advertising clients visualize the scenes and
find potential problems before they occur. Besides this storyboards also
help estimate the cost of the overall production and saves time. Often
storyboards include arrows or instructions that indicate movement.”
Got that? Whew!
If you find it hard to draw a cheque then find someone who can at least
put together handsome stick figures and get them to do it…for free!
Simplify the storyboard
Keep visuals simple
Your goal is to be understandable and complicated visuals may work
against you. Everything that appears on the screen should be there for
a reason.
Focus on the big picture
It’s easy to get caught up in the details of every scene. You’ll have time
to work through them before or during production. In the beginning it’s
important to keep your eye on the overall story and how the big ideas fit
together. Once you get that right, the details will be easier to manage.
Look for visual metaphors or themes
Some of the best videos have a visual theme--a visual or symbol that is
woven into the video across multiple scenes. Having a theme can help
the video feel cohesive and unique.
Beware screenshots and interfaces
Always remember that your video wants to live forever. One change to a
product’s design can make a video look out-of-date. To avoid this, use
symbolic versions of products, websites and interfaces. Keep it simple.
This can help the video remain evergreen, even if designs change.
Use text sparingly
Unlike a conversation, you have only one chance to deliver your points
to the viewer in a video. Use too many on-screen words and you may
lose them. Remember that the beauty of video is the combination of
visuals and voice. I recommend using visuals that support the words in
the script and create a package that appeals to both the eyes and the
ears.

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Chapter 5
Get people to work for food!
Now you’ll need a cast and crew, basically someone to hold stuff, and
get things while you dominate your underlings like they’re Egyptian
slaves and you’re the Pharaoh of Fun.
Almost everyone harbours some dreams of working in the film industry
so it shouldn’t be too hard to muster some actors who can’t wait to see
their name up in lights, even if they’re just strip lights in some damp
room.
As for the crew, plunder your family and friend circle for feeble-minded
saps, or mildly-talented egomaniacs who you can massage into doing
all the work for free.
You must have
• Someone to actually film the movie. Call them the Director of
Photography and they’ll be happy as mud.
• Someone to do your actors’ hair and make-up (if that’s what you
need, you could always do it au natural.
• A Production Assistant to make sure everything’s going according
to schedule and no one’s spending all that money you do not have.
• A Sound Designer. Basically someone who knows how to handle a
sound mixer and can differentiate between bad and good sound.
Look for a friend who’s done a bit of DJaying, everyone knows one
of those.
• A Man/Girl Friday who can manage the lights and pick up all the
stuff that’s too heavy for your dainty hands.
So there you have it, if you these five then you’re all set to shake, rattle,
and ROLL!

8. Chapter 6
Make your own sets
If you want to have custom sets then it would be great if you
had friends who were adept at carpentry, tailoring, etc. Making
your own sets is cost-effective, but it also means you can design
pretty much anything that can be created from the materials
on hand. It also lends your sets a community feel, which makes
everyone feel all gooey inside…till the first splinter mind.
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9. 9 AISFM
Chapter 7
Beg, borrow, or steal equipment…or buy cheap stuff
Don’t worry if you don’t have a RED Dragon camera, or a Black Magic.
There are loads of much cheaper options out there, and should all those
fail just use your mobile phone.
The cheapest cameras for indie filmmakers
Pentax K-x ($485)
The Pentax K-x is a camera that has captured my interest for some
time now due to its low price tag. The DSLR independent filmmaking
revolution has blown the lid off every aspect of independent filmmaking.
DSLR cameras are often used in the production of web series, music
videos, and have even been used to shoot the opening of Saturday
Night Live. These types of cameras produce images that often rival
traditional film based cameras by shooting at the same frame rate and
producing a depth of field. The Pentax K-x is one of these stunning
cameras.
Canon T2i ($600)
The Canon T2i is one of the most popular cameras among both
independent filmmakers and photographers alike. The camera owes
much of its success to it’s brand and high quality. Canon is one of the
most trusted camera manufacturers in the world and provides great
support for each of their products including the Canon T2i. The Canon
T2i is available at just about every electronics store and features a sensor
that is able to capture great looking images in low light situations.

10. Canon VIXIA HV30 ($650)
The difference between the Canon VIXIA HV3o and the first two cameras
on this list is the fact that its primary purpose is actually to shoot video.
The Canon VIXIA HV 30 does not support interchangeable lenses but
this small drawback can easily be overcome with the use of various
camera attachments and wide angle conversion lenses.
Nikon D90 ($900)
The Nikon D90 is very favorable among many because its ease of
use and lightning quick start up times. The camera is equipped with
Nikon‘s world famous DX-format CMOS sensor that allows the camera
to interpret light in an efficient manner.
Sony HDR-CX360V ($800)
Sony is one of the most recognizable names when it comes to electronics
and never disappoints when a new camera hits the shelves. The Sony
HDR-CX360V is a great camera for casual indie filmmakers.
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11. Chapter 8
Rig your own lights
Lights can be a real pain in the butt and if you’re planning on renting them
then they can be pretty expensive. But there are ways to inexpensively
rig your own light set up.
Awesome tips
Worklights
A good key light for cheap is a 500 watt tungsten work light which can
be found at hardware and car parts stores. They come with their own
stands, but I do find the stands a little short.
There’s some power here, but it’s hard to control, so I recommend that
you don’t aim them directly at your actors. Bounce them off a wall or
ceiling to create a nice soft light. If you want, you can put them outside
windows and blast them through the openings. These lights can get
hot, so be careful moving them around. I’ve found them as cheap as $10
and can run up to $30. They can be found with two heads that makes
1000 watts of lights.
How about a shower curtain as difussion
One thing you can do is get a frosted shower curtain and hang it from a
stand and then place the shower curtain in front of one of these babies
to create a wall of soft light. Again, don’t get too close otherwise your
melt a hole in your pretty shower curtain.
China Lanterns
China Lanterns are great. I’ve seen them on the sets of movies costing
many millions of dollars. They are paper material which can be expanded
into a ball (and now different shapes like squares, rectangles and ovals).
They come with a wire support for the bulb. You need to get a socket
11 AISFM
and cable and they are usually sold in the
same place you find the lanterns. I put
a regular 200 watt bulb inside and they
make a great softlight for close-ups. If
the lantern’s big enough, I’ll put two
200 watt bulbs in and I can light a small
room with them. Be careful with them
because they’re made of paper and can
burst into flames. They run between $3 -
$7 depending on size.
If you’re handy, you can pick up a socket and
some zip cord, otherwise known as household
extension cord, and make your own cord for
the china lantern.

12. Sealed Beam Halogen
Then you have small sealed beam halogen lamps which cost
around $4-$10. You put these in a socket and then clamp them
onto a stand, then aim away. It makes a great kicker/backlight
and are great for light special items in the background. They
come in different beam patterns, from narrow to wide. I tend
to go for the medium and narrow. The wide is, well, too wide
of a beam.
Scoops
The old reliable metal scoop light which comes with a handy
clamp is a great option. Pop a 200 watt bulb or a photo
flood in it to light your set. Supposedly this is what Robert
Rodriguez used to light “El Mariachi”.
Reflectors
When you’re without power you can always use some
reflectors to get light on your subject. On a pro set, a shiny
board is the tool, but they cost many hundreds of dollars.
He’s a cheap substitute, Tyvek. Tyvek you ask? It’s household
insulating foam board, but the cool thing is it’s coated with a
shiny foil outside which can reflect a ton of light. If you need
to fill in some actor or pound some light through window
onto your set, Tyvek or some other insulation will do the trick.
A cool portable reflector is those fold up windshield covers
that are coated in silver material. A pro flex fill runs $50 and
the windshield covers can run under $10. Finally, if you’re in
a pinch, just coat a hunk of foam core with aluminum foil,
remember to crinkle it up some so it’s not too sharp with its’
reflected light, and you have a great fill light.
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13. 13 AISFM
Chapter 9
Shoot it like you hurt it
It’s now time to shoot. Make sure you’ve read every direction
book in town and also scoured YouTube for all those cool
tutorials. Remember to communicate at all times with your
DoP and your Sound Designer to make sure that you’ll are
all on the same page and both sound and picture quality is
acceptable.
Use your storyboard and let your actors know exactly what
you expect from them so that there’s minimal faffing about.
Keep an eye on your schedule, because although you
may feel you need at least six years to realize your vision,
you probably have more like six hours, so get with the
programme.
Above all keep it simple!

14. Chapter 10
Edit for free, yes for free!
Ask any editor and they’ll tell you you need swanky, singing-dancing
software that would cost as much as a tasteful funeral. You really don’t.
Check out these two cheap-as-chips options:
Pinnacle Studio 16 Ultimate ($63)
The new Pinnacle Studio is vastly more impressive than its predecessor,
because it’s based on the higher-end Avid Studio rather than on its
nominal predecessor. I have no problem giving it a very high rating—
Corel has taken the good interface and toolset of Avid Studio and
gotten it right, with good performance, new helpful tools, and more
output options. It really has all the tools any sophisticated amateur
video editor would need.
Corel VideoStudio Pro X6 ($80)
No product in this category offers everything. VideoStudio is
PowerDirector’s equal (and better than Premiere Elements and Sony
Movie Studio) when it comes to multi-trim clip editing. It’s also more
stable than most other apps, which occasionally stop responding. But
the real reason to get VideoStudio is for its one-of-a-kind tools like
stop-motion, HTML5 output, and motion tracking effects.
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15. Chapter 11
Flog it like it’s a dead horse
You’ve finally finished post-production. Most of your cast and crew’s still
alive, and now it’s time to make sure someone apart from your friends
and family actually watch the film. Here are some cracking tips to get
your movie out there without reaching for your wallet.
Short titles and hashtags
The titles of your articles and posts should be short and snappy. If you
are posting on Twitter, try and use less than 120 characters to allow
readers to mention them in a Re Tweet.
Vine
Vine videos – the 6 second movie clips generated by the vine app on
Twitter are a really cheap and fun way to make sparkling and viral content
for your website. Download Vine. Research existing Vine videos. Use it.
Festival screenings
There are four main reasons to attend a film festival with your film, the
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main one to create awareness of your film hopefully leading to a sale.
While you are at a film festival make the most of it. Network with other
filmmakers and see what tips you can pick up from them.
Trailers
Trailers are another essential part of the process. Probably the best way
is to create a Youtube channel and use the Youtube link on all your
other social media platforms. Get a snazzy animated logo (for free) and
decide what lower thirds you are going to use and presto.
Blogs
Your blog is an essential tool. You can use it to archive and store
important production data and keep track of how you are feeling about
your project as it lurches from meeting to meeting, and mishap to
mishap. Throughout of course, you will be able to write over and over
again how you managed to solve insurmountable problems that would
swamp those of lesser ability.

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