Just follow this simple three step plan, it will make you a Billionaire Filmmaker!
Step one: Write an app called Angry Flappy Birds and sell the rights for a billion dollars to Googlebook. Disappointing right? If I would know how to make a billion I would not be here, or at least would hire someone who can write funny jokes. So that leaves ‘How to become a Filmmaker’? Unless you are already a billionaire, chances are you will be working for and with other people.
What are you? Storyteller? Shooter, director, editor?
You want to write, shoot or direct? Perhaps do it all? In your own work, like everything creative: technique will give you freedom of choice. A simple example is Picasso, he was as good at paintings and drawings as anyone around in his time. It was a choice to start drawing like a 6 year old, it wasn’t because it was the best he could come up with. Inability isn’t a style, it’s just.. that. You want to write, shoot or direct? Perhaps do it all in your own work, like everything creative: technique will give you freedom of choice. A simple example is Picasso, he was as good at paintings and drawings as anyone around in his time. It was a choice to start drawing like a 6 year old, it wasn’t because it was the best he could come up with. Inability isn’t a style, it’s just.. that.
Remember that the old and boring stuff is done to death because it works and my advice is to make some basic stuff first for fun, even if it was just to figure out what your camera / editing systems limitations are. There is only one James Cameron because what he does is hard and complicated. It takes talent but most of all practice and a lot of willpower to keep going. But we are not talking Terminator or Avatar type productions, that’s step 2….. Remember that the old and boring stuff is done to death because it works and my advice is to make some basic stuff first for fun, even if it was just to figure out what your camera / editing systems limitations are. 
Whatever interests you will become your intuition
Whatever you love watching, like and enjoy it will become part of your intuition and part of whatever visual language you develop yourself. Watch a lot of good stuff, and you will find it show up as inspiration somewhere. You don’t need to read pages like this, what you really need to do is shoot and edit something! So if it is raining outside, you don’t feel inspired and have a lot of time to waste, here are some thoughts on the subject that have worked for me in the past… Whatever you love watching, like and enjoy it will become part of your intuition and part of whatever visual language you develop yourself. Watch a lot of good stuff, and you will find it show up as inspiration somewhere. You don’t need to read pages like this, what you really need to do is shoot and edit something! So if it is raining outside, you don’t feel inspired and have a lot of time to waste, here are some thoughts on the subject that have worked for me in the past…
It’s a product and a service:
It is a product that has a purpose and the end result has to be in the service of your client. If you want to make art, great! Just make sure it is the art they want and need. When meeting with a client you are there to figure out what they really need, you are not there to find an excuse to sell them whatever new toy you want to use or new trick you just figured out and are desperate to use. Those excuses come later! It is a product that has a purpose and the end result has to be in the service of your client. If you want to make art, great! Just make sure it is the art they want and need. When meeting with a client you are there to figure out what they really need, you are not there to find an excuse to sell them whatever new toy you want to use or new trick you just figured out and are desperate to use. Those excuses come later!
And listening is something very different from not talking. What you want to know from clients is who are you telling your story too and what do you want them to remember at the end. In most cases you can split it up in three parts: And listening is something very different from not talking. What you want to know from clients is who are you telling your story too and what do you want them to remember at the end. In most cases you can split it up in three parts:
I: Huston we have a problem
II: We have a solution
III: This is the result
You need to figure out what they really need and what it is they expect from the end result. Not just do what they ask you to do because in most cases, unless they are experienced in telling visual stories, most clients will have some trouble understanding the consequences. It is your job to explain it so they do understand. You need to figure out what they really need and what it is they expect from the end result. Not just do what they ask you to do because in most cases, unless they are experienced in telling visual stories, most clients will have some trouble understanding the consequences. It is your job to explain it so they do understand.
Don’t be afraid to show them another angle or different solution. A short video with a couple of simple statements can have a lot more impact then shooting a 45 minute speech and trying to edit it into a short video where most of the short sentences will be out of context. This is also where you can put your talent to work, figure out how you can add some spice to the mix. Don’t be afraid to show them another angle or different solution. A short video with a couple of simple statements can have a lot more impact then shooting a 45 minute speech and trying to edit it into a short video where most of the short sentences will be out of context. This is also where you can put your talent to work, figure out how you can add some spice to the mix.
Background info matters, before you meet, make sure you know about the client. This way you can come prepared with a few good suggestions during the first meeting. And you need it during a shoot to find the right nuance and figure out how far you can push things. On the edge of what is possible is where the tension is and that is when things can get interesting. Background info matters, before you meet, make sure you know about the client. This way you can come prepared with a few good suggestions during the first meeting. And you need it during a shoot to find the right nuance and figure out how far you can push things. On the edge of what is possible is where the tension is and that is when things can get interesting.
You want the truth? You need to handle the truth!
So when you have figured out what the client wants it is time to figure out what you will do for them and, this is the most important part: make sure you talk through any and all expectations of the end result. What you think you have told them and what they will expect from this can be two very different things. So when you have figured out what the client wants it is time to figure out what you will do for them and, this is the most important part: make sure you talk through any and all expectations of the end result. What you think you have told them and what they will expect from this can be two very different things.
It is not the gear, it is you
Of course you have to know the technical side of the job, it is expected you know your equipment, but it is not the key to success. Gear matters, but it shouldn’t be a distraction, the reality is we can all buy the same gear, what makes the difference is what you do with it. If you want to be a allround filmmaker, and I don’t mean become a fat bastard, that operates his/her own gear, you should know it so well that you can forget about it. create a pre-shoot routine to check all tech stuff so you can then focus on the content, the talent and whatever you want to translate into a moving image. Off course you have to know the technical side of the job, it is expected you know your equipment, but it is not the key to success. Gear matters, but it shouldn’t be a distraction, the reality is we can all buy the same gear, what makes the difference is what you do with it. If you want to be a allround filmmaker, and I don’t mean become a fat bastard, that operates his/her own gear, you should know it so well that you can forget about it. create a pre-shoot routine to check all tech stuff so you can then focus on the content, the talent and whatever you want to translate into a moving image.
Find out what works for you, don’t make things complicated because you think it will give you 3 bits more data and 50 extra pixels if it turns into a total tech distraction. Sometimes simple is good, years ago I shot a 30 minute video in Istanbul with the LX3 compact, nobody took it too serious because of the small size and it turned out to be a fun spontaneous video. Start simple, pick the tool you need. You don’t need a 16K camera if you can’t keep things in focus on a DSLR, and mostly because you want to live in reality where we don’t have 16K cameras….. yet? Find out what works for you, don’t make things complicated because you think it will give you 3 bits more data and 50 extra pixels if it turns into a total tech distraction. Sometimes simple is good, years ago I shot a 30 minute video in Istanbul with the LX3 compact, nobody took it too serious because of the small size and it turned out to be a fun spontaneous video. Start simple, pick the tool you need. You don’t need a 16K camera if you can’t keep things in focus on a DSLR, and mostly because you want to live in reality where we don’t have 16K cameras….. yet?
Wanting to direct and shoot means you have to work hard and learn your gear so well that you can forget about out during a shoot. Best way to learn about camera is edit your own stuff. Editing is the most effective way to learn how shots really cut together, if you hold them long enough and if those amazing 1 second and 12 frame zoompans are really such a great idea for that 90 minute doc about the quiet life of the elderly you are hired to shoot. Wanting to direct and shoot means you have to work hard and learn your gear so well that you can forget about out during a shoot. Best way to learn about camera is edit your own stuff. Editing is the most effective way to learn how shots really cut together, if you hold them long enough and if those amazing 1 second and 12 frame zoompans are really such a great idea for that 90 minute doc about the quiet life of the elderly you are hired to shoot.
Learn to count while shooting, no matter how long you have done this, when the adrenaline is pumping and a lot of things are happening at the same time that 2 second shot seems longer then it really is. Away from the mayhem and war cries in the quiet zenlike edit cave you have dug out in your garden 2 seconds is nothing. So it’s a good idea to count the seconds. Learn to count while shooting, no matter how long you have done this, when the adrenaline is pumping and a lot of things are happening at the same time that 2 second shot seems longer then it really is. Away from the mayhem and war cries in the quiet zenlike edit cave you have dug out in your garden 2 seconds is nothing. So it’s a good idea to count the seconds.
Keep it fun
Not sure about you but I’m having fun with this job and I think if you really want to do this, it should be fun. It can be crazy but unless you like to be depressed for the rest of your life try to enjoy it as much as possible. A good team of like minded people really helps. In the past some couldn’t handle my jokes and wanted to punch me in the face. It was a serious job and you had to be moody and depressed or you weren’t taking it serious. Well it is a serious job but if you don’t enjoy it, why would you want to keep doing this? Keep it fun , it will help with the creativity and a good atmosphere helps everybody. Not sure about you but I’m having fun with this job and I think if you really want to do this, it should be fun. It can be crazy but unless you like to be depressed for the rest of your life try to enjoy it as much as possible. A good team of like minded people really helps. In the past some couldn’t handle my jokes and wanted to punch me in the face. It was a serious job and you had to be moody and depressed or you weren’t taking it serious. Well it is a serious job but if you don’t enjoy it, why would you want to keep doing this? Keep it fun , it will help with the creativity and a good atmosphere helps everybody.
It is even possible to make shooting a lot of stock in Brussels fun if you hang out with the right people, here is an example: It is even possible to make shooting a lot of stock in Brussels fun if you hang out with the right people, here is an example:
Understand the client
Empathy for your client, being truly interested in their point of view and understanding their needs is the key, not perfect camerawork and super groovy mad editing skillzz. Technically it should be as good as it can be give then situation, but content comes first. Depending on your market, sometimes the end product is used in a presentation and viewed 30+ times. If you mess up or disregard the purpose, someone will comment on any shortcomings. Make something that serves the purpose and impresses people, it is a good calling card for other clients and the best way to keep things fun: make stuff you can be proud of. Empathy for your client, being truly interested in their point of view and understanding their needs is the key, not perfect camerawork and super groovy mad editing skillzz. Technically it should be as good as it can be give then situation, but content comes first. Depending on your market, sometimes the end product is used in a presentation and viewed 30+ times. If you mess up or disregard the purpose, someone will comment on any shortcomings. Make something that serves the purpose and impresses people, it is a good calling card for other clients and the best way to keep things fun: make stuff you can be proud of. 
My mother always told me to be prepared
This really should have been called “stating the obvious for filmmakers”. But I still run into horror stories where ‘stuff‘ happened during a shoot nobody expected and could have been avoided with a test set-up. Only things you have tried before a shoot are a safe bet, do a test shoot on every setup you want to use and edit it to see if it gives you the results you are expecting. Figure out a workflow, it will save you time during production and lost data or messed up files. Just because that special tool could arrive the morning of the shoot doesn’t mean you should use it. Unless it is a special crewbrew coffee maker, chances are gear will surprise you. This really should have been called “stating the obvious for filmmakers”. But I still run into horror stories where ‘stuff‘ happened during a shoot nobody expected and could have been avoided with a test set-up. Only things you have tried before a shoot are a safe bet, do a test shoot on every setup you want to use and edit it to see if it gives you the results you are expecting. Figure out a workflow, it will save you time during production and lost data or messed up files. Just because that special tool could arrive the morning of the shoot doesn’t mean you should use it. Unless it is a special crewbrew coffee maker, chances are gear will surprise you.
Most of us would love 4K raw if it was as easy to handle as DV on a nice laptop. But the truth is raw workflow is a pain with most current hardware and if you really need it then you probably know the trouble it will give you. My advice would be not to experiment with clients money unless they are up for it and you both know what the consequences might be. Most of us would love 4K raw if it was as easy to handle as DV on a nice laptop. But the truth is raw workflow is a pain with most current hardware and if you really need it then you probably know the trouble it will give you. My advice would be not to experiment with clients money unless they are up for it and you both know what the consequences might be.
If its not on the page…
Basically a good production is made before you shoot a single shot, even if you have no idea what might happen you should be prepared. This is where the background info comes in. Filter all the available info, know what matters most and what the purpose of the end result is. Build a framework that is open, but has a clear beginning, middle and end. this way you have something to fall back on. I always tell my clients i’m in the business of well prepared coincidence; make sure you know exactly what you want but be ready to throw it all out of the window if you run into something better. You can only do this if you have a framework, if you know what the limits are and understand the story behind it all. Preparation, like technical ability, gives you the freedom to be creative. Nothing limits the creative process more then being unprepared. Basically a good production is made before you shoot a single shot, even if you have no idea what might happen you should be prepared. This is where the background info comes in. Filter all the available info, know what matters most and what the purpose of the end result is. Build a framework that is open, but has a clear beginning, middle and end. this way you have something to fall back on. I always tell my clients i’m in the business of well prepared coincidence; make sure you know exactly what you want but be ready to throw it all out of the window if you run into something better. You can only do this if you have a framework, if you know what the limits are and understand the story behind it all. Preparation, like technical ability, gives you the freedom to be creative. Nothing limits the creative process more then being unprepared.
Nothing beats practicing in the real world
You can read about this stuff as much as you want but in the end you just have to go out and shoot as much as you can. If you truly want this and love it, you will be shooting all the time, if you are waiting for someone to give you a chance and not shooting / editing all the time you should ask yourself “if I can’t be bothered to motivate myself to create my own work, why should anyone else care?” This is why it is important to shoot and edit a lot, make little projects for yourself. Find friends who want to help out. Perhaps even set a video a month goal just to have a reason to shoot and edit something. Make little family shorts and send them, anything that gives you a reason to make videos. You can read about this stuff as much as you want but in the end you just have to go out and shoot as much as you can. If you truly want this and love it, you will be shooting all the time, if you are waiting for someone to give you a chance and not shooting / editing all the time you should ask yourself “if I can’t be bothered to motivate myself to create my own work, why should anyone else care?” This is why it is important to shoot and edit a lot, make little projects for yourself. Find friends who want to help out. Perhaps even set a video a month goal just to have a reason to shoot and edit something. Make little family shorts and send them, anything that gives you a reason to make videos.
This is the part where I go all politically correct and say it is just my opinion and might work for me and could be completely horrible for you and you really should find your own way. But let’s skip that part and I won’t even mention the fact you should discover what makes you different, and that most theory only makes sense after you discovered it all yourself in the real world… making this page pretty pointless I guess? This is the part where I go all politically correct and say it is just my opinion and might work for me and could be completely horrible for you and you really should find your own way. But let’s skip that part and I won’t even mention the fact you should discover what makes you different, and that most theory only makes sense after you discovered it all yourself in the real world… making this page pretty pointless I guess?
I can tell you this: making a pretty video with a popular song as soundtrack is easy, iMovie can do it for you with trailer templates. Making one that communicates the feeling and story your audience wants can be a bit more difficult but should be the ultimate goal if you want to do more work for someone else. I can tell you this: making a pretty video with a popular song as soundtrack is easy, iMovie can do it for you with trailer templates. Making one that communicates the feeling and story your audience wants can be a bit more difficult but should be the ultimate goal if you want to do more work for someone else.
On a side note: some of this is stuff I wrote for my old website Digital Exposure back in 2001, those where the days where everybody was chasing the latest piece of technology. Desperate to try the newest camera’s and gear and everything had to look cinematic. Thank god this has all changed and we are only focussing on story and content!
Note:
This was originally written in 2013
