Filmmaking is a learning process, like with any other art-form. Having a vision, connections, and money don't serve as replacements for skill, talent, and preparation. I produced seven short films, and with each one, I learned valuable lessons. One of the biggest lessons, was how vital preparation is. I spent years performing improv comedy before I started making my own movies, and as valuable as improvisation is in film production, having all your ducks in a row is all the more essential.
I've been an IATSE lighting technician since 2009. I've worked on small features, blockbusters, series, MOWs, and pilots. Some shows have all the right people in the right positions. Others have people in positions based on political manoeuvring – particularly above the line – and the crew has to clean up after their mistakes. I've seen it too many times, where the creatives have tons of ideas as to things they want to do or try, but no cohesive vision or strategy. If something doesn't work, they'll just pay crew more overtime to fix it, or reshoot a bunch of scenes. I worked on one large budget streaming show, where the creatives wanted to utilize every practical effect that they could think of. I remember working on set, killing myself pushing 18K lights on crank stands, on the beach in the sand, while a circus of weird stunts and effects played out around me. I remembered thinking to myself “this is costing so much money, and it's going to look terrible”. I eventually watched that episode, and it looked just as bad as I imagined it would.
With my short films, the first one I produced had a really simple concept, and came together without a hitch. The second film though, was a challenge. I didn't have much time to work with my actors on set, and realized a separate rehearsal in pre-production would have made a huge difference. There were also shots that didn't line up the way I imagined, because of how the set design clashed with my desired blocking. All of this could have been figured out in pre-production. For my third short film – which was far more ambitious – I spent six months on pre-production. For number three, I created a floor plan for my main set, with set pieces meticulously positioned, a comprehensive lighting plan, and a clear idea of how the blocking would play out. We also designed a min bar and bed that the puppeteer – the main character was a teddy bear puppet – could hide in with a monitor, so she could see how the puppet looked onscreen. Here's a link to the film's trailer, https://youtu.be/l9OR8KwC2U4?si=G3YSwh6oqaIFwLFx
The last thing I want to bring up is the importance of previsionalization. The old methods of employing storyboard artists, and concept artists is still a good and valid strategy. Implementing digital simulations such as “Unity”, “Blender”, or “Unreal Engine” are great, if that's within your means. Over the years, I put a lot of time into utilizing the software “Frameforge Previz” to create 3D storyboards. It's more user friendly than some of the more expensive digital programs, and designed specifically for film/tv projects. You can create sets to scale, pose pre-made and modifiable digital actors, and place/use simulated camera/grip/lighting gear. It gives you a chance to test out complicated actions and shots, before you're on set. Nothing is worse than anticipating a crane shot for weeks, only to find out, on the day, that it doesn't physically fit in the shooting location.
I used “Frameforge Previz” to storyboard more complex scenes in a couple of feature film projects I developed. I even created a vfx demo and a mockup “motion storyboard” music video for my feature project “Ice Cream Man”. The models used in both, are a combination of assets that are provided in the software, and assets I found available for free on 3D model sites. Here's a link to the vfx demo, https://youtu.be/oDIs76qyk44?si=Pq_xH7l1VeP_jxkm, and a link to the mockup music video, https://youtu.be/ON2F9tpq2Ps?si=CvxRI4YO1DUHu6qP
If you want to learn more about me, you can check out my website, www.angrybearfilms.com
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