10 Tips For Film Making

1. What’s the right format for your film?

Filmmakers now have a plethora of choices available to shoot their films. So, the first question a cinematographer/filmmaker has to deal with is – what’s the right format for the film? Format is dictated by various factors such as the look, style of shooting, lighting and most importantly, budget.

2. Camera and its entire workflow needs to be thoroughly tested

Once you narrow down your choices, the next step is to test the camera thoroughly. Camera should be tested in the conditions which the film demands. If you plan to shoot mostly handheld, test it in similar conditions. Keep in mind the lighting conditions, your style of shooting – if it involves following a constantly moving character. Certain cameras might be good for something but might not work in different situations. So go with what works for your film.

3. Use DSLR to its advantage

While DSLRs enable you to make your film despite budgetary constraints, they also come with a few strings attached. DSRLs could be a real pain if you have to follow or lead a character. You can’t use the optical viewfinder while shooting video on DSLRs. So, use them to your advantage and plan your shoot keeping their limitations in mind.

 On the other hand, DSRLs give you the liberty to shoot with a smaller crew without attracting attention and in low-lit situations.

I had to insist on not shooting Peddlers on a DSLR as the film demanded following the characters.  I had to bring down my lighting requirements to afford RED. I did use DSLR for certain situations where I needed to shoot on real locations without drawing people’s attention.

4. Higher resolution doesn’t necessarily mean better images

New cameras promise higher resolutions. It’s not always the resolution but the quality of the image that matters. Think of the look of the film, does the crisp clarity help you tell the story? Think of the image of the film from an aesthetic perspective.

5. Celluloid isn’t always the expensive medium

I shot Titli on super 16 mm while the production had the budget to go for a higher end Digital Camera (Arri Alexa). I preferred to shoot on super 16 because it gave the film a nice texture. I didn’t think that the sharp and clear digital images would help the film. Super 16 turned out to be a less expensive format compared to Alexa.

6. Script is the only reference

A good script is half the job done. It’s not a good idea to look for references for your film in other films. I try not to watch other films when I start working on a film project. Don’t try to emulate others. Read the script and spend time with it. If it’s a good script, it will have visual clues. Try to find the mood and look of the film in the script.

7. Working with non-actors

I insist on getting a good remote focus system. You can’t ask non-actors to follow your focus marks. You can’t restrict their movement. You have to be always prepared. It’s not always that their performance will improve with every re-take. So be ready to capture all takes without losing out on anything.

8. Camera should enable storytelling, not hinder it

An indie cinematographer has to be prepared always. When you are working with non-actors or new actors, you cannot afford to not be ready. Give them their space; don’t expect them to just do what they’re asked to. In order to help them get into the skin of their character, your camera needs to respond to their performance and not the other way round. Be intuitive and be ready to improvise. If you’re shooting in conditions where things aren’t exactly in your control, be innovative and always prepared to capture.

9. Getting the film look on digital cameras

Images captured on digital cameras are too sharp. Celluloid, on the other hand, gives images a softer look. Since we’re used to watching films on celluloid, we associate this softness with celluloid. You can either use old lenses or a filter to add softness to sharp digital images. Digital cameras with smaller sensor have a large depth of field. Shallow depth of field is associated with cinema. You might, at times, need to use light to compensate for low latitude of digital cameras. But as said earlier, the script should be guiding your creative and lensing decisions.

10. Get over celluloid

While I’m in love with the images captured by celluloid, emulating them on digital isn’t a bright idea always. Digital images have a different texture, explore that. Think beyond the celluloid imagery and explore what digital has to offer.