How to CUT COSTS in DOCUMENTARY FILMMAKING | Julia Ward | Skillshare

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How to CUT COSTS in DOCUMENTARY FILMMAKING

teacher avatar Julia Ward, Producer I Writer I Director

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (20m)
    • 1. Introduction

      2:53
    • 2. Chapter 1: Wearing Many Hats

      3:52
    • 3. Chapter 2: Teach Yourself

      1:15
    • 4. Chapter 3: Friends and Family

      3:06
    • 5. Chapter 4: Stay Organized

      4:49
    • 6. Chapter 5: Equipment

      4:31
    • 7. Chapter 6: Story

      2:03
    • 8. Chapter 7: Sound and Music

      1:53
    • 9. Chapter 8: Subjects

      1:54
    • 10. Chapter 9: Locations and Permits

      1:23
    • 11. Chapter 10: B-roll and Fair Use Law

      2:11
    • 12. Chapter 11: Grants

      1:16
    • 13. Chapter 12: End Goal

      2:05
    • 14. Outro

      0:53
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About This Class

WELCOME TO "How to CUT YOUR BUDGET in DOCUMENTARY FILMMAKING COURSE". This course is the 2.0 one I have filmed two years ago. The video quality is definitely much better and I have more information to share. 

My biggest goal for you in this course is to feel confident in cutting down your production costs without cutting down your production value. 

Any questions, let me know!

Julia

Meet Your Teacher

Teacher Profile Image

Julia Ward

Producer I Writer I Director

Teacher

 

Welcome my fellow filmmakers, directors, producers, and writers! My goal is to help YOU on your filmmaking journey. Let's get started!

 

 

 Hi, My name is Julia and I'm a director, writer, and producer in my mid-20s. I have been passionate about filmmaking since I was 12 . In high school, I have directed a few plays, made films, and become an international thespian, and taught filmmaking seminars. While getting my degree in media production and journalism, I had a few filmmaking internships, one was teaching how to make a documentary to high school students, and another was at the Cannes Film Festival. Since graduating college, I had a student film at the Cannes Film Festival at 21, and at 22 I had my first award-winning documentary. Sin... See full profile

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Transcripts

1. Introduction : Hello My fellow filmmakers, FEM doctors from actors and producers, film directors from murders and more, film students who are passionate them. Welcome to Skillshare. I am so happy to have you here today on the course, which is all about how to cut the budget for your documentary. If you feel that your budget is too high or you feel a huge oil, you'll want to make a documentary but not break the bank. This is the course for you. And if you feel like you'll be more independent. So this course is all going to be about, I'm going to talk about different parts of the production process and how you can save money during those certain parts. Now, this is a redo of the class. Had me before I made this class two years ago, and two years ago, a lot has changed. I was a producer, director on more things, consulting and helping clients for the past two years. And a quick thing about me, my name is Julia and I had been on Skillshare for a couple of years now, we're winning filmmaker, film director, film producer. And I write, direct and consult for people around the world as a freelancer and I've been loving it so far. And I love working with all these such amazing clients if you do need help. And then he used to run away with those. You can check out my bio orange. I got my website and find out more information on how I can help you and your fell. But my biggest goal for you, but this course is to feel that you have this really great product. Without that, you can still spend a certain amount of dollars, but you're not sacrificing the production value. I want you guys to still have that authentic raw, very well produced documentary. But without breaking the bank, I want that for you. So we're going to make sure about this course. You'll be prepared for that. We're going go into things like the pre-production process. I'd be more organized all way down to the post-production process and little tips and not shortcuts, but instead enhancements. Because with me, I don't like doing shortcuts. I don't like shortcuts because they end up problems happen. I don't want that for you. So by the end, you will feel that your documentary will be the best production value. It can be on a budget and wave it makes the call five, besides all the other things I said is that I did have an award winning film and they only cost me about 500 dollars to make that felt. And it was great production value in my opinion. So I can post that in the project box. And speaking of that with the project, it's all going to be about which tip was your favorite and how can we attribute to your film that you're doing right now or film the future. And that'll be that. Okay. So without further ado, let's get on to the course and let's save you some money. 2. Chapter 1: Wearing Many Hats: So Chapter 1, we're going go into wearing as many hats as you can. Yes. Sounds chaotic. Yes. Do I I don't always recommend it, but a must is a must. If you are looking to save money, buying people is very expensive. Hiring crew members is very expensive job, especially if it is a producer, director, writer came be expensive depending on which one and actors, of course. But if you're doing a documentary, you don't have to worry about actors. Yes, you do. You might have to worry about actors when you do historical moments, if you're reenacting something which I've had, I've been a part of. So the does cost money. And I just find that when I made my documentary, even editors are expensive. Let me tell you what I made my award winning documentary. I did everything myself. Basically everything. I did, the directing, the producing, the writing, the planning, the editing. I said the writing, the writing, and even the narrating and the sound. So I did everything myself. And of course, you know, there are things I wish I could have just on the project later on. And I think I wish I could have hired on Liga another camera person instead. But that's besides the point is that I did everything myself and it's still became award-winning because I kept I made sure that I knew I could do the hats that I had. So if I'm part of the whole entire process, look at your weak links. What is your weakest link to you? What part of the production process is the hardest for you to do if you feel like that organizing, right or writing is really hard trying to get that all together. Hire someone for that. That's okay. That's what I'm here for us. But people hire before they hired me for writing or if they don't feel like directing, you hire someone like firing me exactly. And the same thing with producing, it's all the same. Well, but I do recommend is that if you can wear as many as possible. So if you take all your strings that you have, make sure you do those jobs. And then the ones do you feel like are more of your weakest link, then budget for those. For example, if you are sucky at editing and you don't want to edit and you're just terrible audit whatever, then hire an editor. But if you look at a documentary and say, okay, I need to hire a director, producer or writer. Just use type of crew members and an editor in all these After Effects. Then really take a step back and look at what hats you can put on. Like I said for my documentary, we're about five different hots. Elise, where three hats, I think, and I think it'll be set unless you're gay, huge grant or a huge amount of money to do it, then yeah, give all the jobs out. But if you're not, and of course you clicked on this course because you don't. If you want to cut your budget, then I would suggest wearing many hats as possible. And then where you don't want to wear hat, then pay that person for that, which is your weakest link. So that would be starting off because even that's part of the production process, it's still important pre-production to know how to hire people. So that's the best bet. And also with cutting budget and documentary, don't underpay people, pay them how they should be paid. And again, you can look at different freelancing sites if you would need to find, you know, ask around looking at rates, compare rates, that's totally fine. The fine, that's what we work for you. Now, something that could be an unfair advantage with wearing many hats as possible as the idea go to a film program. So I was able to learn all that stuff. But before the film program already knew how to do all that stuff beforehand that I taught myself. 3. Chapter 2: Teach Yourself: If there is a hat that you don't know, we're going to grind it chopped to hear all about learn the skills as much as you can. For example, if you are not the best editor, but you feel like that you can learn how to edit and in you and enjoy that. Go ahead, go ahead do that because that's how you're going to save money. And Skillshare course has a month free, so you get a month of courses and my courses, other filmmakers courses. And you're able to learn more about the industry and the trade. And then you'll be able to put those skills to the test in the documentary so you could be more knowledgeable. And the same thing with YouTube. And you just can search on anything like if you just say, if you guys ever need to know how to make a treatment or a documentary script, or if you need help with a hook or call to action, check out my YouTube channel. I have all of that listed there and I can teach you eyes in those videos how to do those things, so then you can be better at it. So think of it that way is that you're able to, you have these resources to help you learn. So if you feel like there's a hot that you can't wear or you just want to try to wear to help save some money. Teach yourself, teach yourself some film things. And that's how you can save money. 4. Chapter 3: Friends and Family: And also though, with all that something, keep going down this nice little train that we have going on here. And we're gonna go into the friends and families section. Okay, So with friends and family, It's that is a tricky topic because sometimes friends or family are terrible. I've being on a film set. Okay. Some of them are very bad. That's just not their thing. And it may make your film suffer and then you lose our production value. But if you do have some family members or friends who can do easier jobs, like let's just say, for example, my mom is pretty good around a film set and she's been supporting me since I was a kid. Okay. I've been making films for like 10 years now or like, you know, teaching film, making them exactly. And so for the award-winning film that she supported me as a production assistant, and she helped to sum this in metallography on that film. Is that great? And of course she did for free and she volunteered because she was supporting me. Look for that, look for people that, you know, they're really good. If you know someone who's really good for camera, whose friends or family and they're willing to support you. Go ahead and do that. That's a way to cut the budget. If it's somebody that is not really into film and they don't know how to work a boom pole, or they don't know how to work with camera, or they don't know how to be a production assistant. Another thing they can do is that when you have your crew on SAT, a lot of times people have to pay for catering for lunch or dinner if the SEC goes on too long or if there's breaks and stuff like that. They can help cook a meal for the people or help use their houses, a location use there, use a place that they know a connection they may have. So friends and family is a great way to not break the bank because a lot of times they want to volunteer because they want to help you. And if they don't want to help you, I don't know what you did to them, but not that I'm starting any TA or anything, but those people want to help you. So make sure that you're nice to everyone, Okay, this is from Julia mutually to you. You and me. Being nice everyone, be kind, be loving because you never know when you're going to need a person. So when you look at friends and family, again, think of them as volunteers. Treat them very nicely and see what they can do if brother socks and holding a camera, don't put him on camera, put it as a production assistant, or have him make sandwiches for everybody. So a lot of those things can help save a lot of money because catering is not cheap. So those are little things. And these allies tips and giving out two are very practical things. These are things that you can do very easily. And it's something that documentaries are great with too, is that you're not having to massive like CGI or these certain effects. It's pretty simple, severity making a documentary, you already winning, in my opinion. 5. Chapter 4: Stay Organized: Now, after you have brand through friends and family went through all that. Now we're going to go to Chapter 4 and we're at Chapter 4 now, where I'm going to go to dial back a little bit from the production stage and go into that pre-production. And this is something my dad actually commented on to. And so I want to make sure this is really evident in the video. Is that be organized, the more organized you are, the better your film will come out in, the cheaper your film will come out. I'm telling you, because you're not wasting time. You're not wasting Daylight, you're not wasting days because days or money every day you're putting down money. So she for renting equipment. If you're hiring actors for something certain subjects you're using, they want to be paid. Some subjects. And we'll discuss that in a bit. We'll go into a chapter about that. Butt and your crew members want to be paid per day. It gets expensive after a while. Some members can be like an audio person, could be a $100 an hour, a marketing, it's expensive. So what you need to do, and that's why more of the cheap end audio people are super expensive. So what you have to understand is that time is money, right? So when you're organizing yourself, make sure your pre-production, if you were on a budget, like for example, my award winning film, I was so tight on my budget Exactly, hat's off my own pocket that I organized the blank out of it. I don't want to curse on Skillshare. I buy made sure I had an outline, I had a treatment and I had, I don't think I had a script by at least had the treatment and the Atlanta had exactly what days I was filming, what everything was mapped out. That usually associate producer's job is to map it all out. But I was the producers, so I did all that work myself. And so the first thing I recommend is do an outline and I can post a resource video for that below show you how to write an outline and then also documentary script and the treatment. If you have those three things, you're going to win, you can check out my documentary Skillshare course if you'd like to learn more about how to write a treatment, That's been really helpful to allow people as they have told me. And actually also do that for a living too. I read some treatments here and there, they're fun to do. But what I wanted to go more into is that you have this three documents, you have your schedule. That's the best that's the best scenario that you can do. The point is that what a lot of people forget is that they think, okay, organizing that's a gray, but they want to be flexible. It's great to be flexible, but you have to plan where you're filming, how much current you really need to not buy extra access crew and to make sure it's only a certain amount of days. So if you want to take away from this section of being organized, get out that outline. Make sure you have that treatment. Have a script Only if you want to and have a shortlist. A shortlist is very important and then you don't waste time knowing what shots are going to be putting in. A shortlist is taking all of the camera angles and chops from the script or outline and putting them into an organized list. A lot of times in the organized list, it goes into camera, angle, camera shot, the size and what's going on in the shot and who's in the shot. So it makes things very, very easy. But if you make the script first, you're able to have a really good simple shot list and then you would give out citizen metallography. And if you're the semitone grapher, you would have it. So make sure that you're organized. Plan everything out, plan for rainy days, planned for the weather to be weird, have substitute locations if needed. And yes, I've had any do that before. I substitute locations, for example. So for my award winning film that I did in Jekyll Island, I had a scheduled 34 days for filming, so I scheduled one day to work with all the subjects and sum them all. And then I scheduled today, sir, B-roll and I'm glad I did. So the first scheduled B roll, it didn't go according to plan. It just the weather was really it gave and everything just didn't feel right into and fit together. Then on the third day when I was able to fill in the B-roll again, I since I scheduled that second day for that same B-roll just in case if the weather wasn't good, it saved me because my cost was for me to stay at the hotel. That was what my $500 12 is food, gas, and the hotel stay and everything else I did myself and everything else I already had. And we'll go into equipment that stuff in a second. But that's the thing. Big shirt organized and make sure you know how much you need to really budget for and figure that out at the beginning pre-production because then it's easier to cut things out. 6. Chapter 5: Equipment: And then going range that we'll talk about equipment. So with equipment, which is Chapter 5, I guess we'll make this now. This is a thing of the equipment, so I got lucky in two ways. One way is that I used equipment I already had. I used my name and use my ring light. Well, my saying I used my Canon Rebel 26, I dot, I already got the cheers before. So as my camera had through college, so I used equipment. I already had this microphone. This microphone right here is from that film. Ten bucks on Amazon. Amazon is really great. So my camera's probably the most expensive, but those things I already used, and why am I saying I'm not including that with the overall budget? Because I didn't rent and I had the camera for three years. If I just bought the camera for that project, that's a whole nother thing. But this camera, I already had it a long time ago. Three years ago, three years prior. So to me, I felt like okay, I'm just using some of the old. I could've used a really good for k camera and I did it because I didn't have the time to until the equipment in college, I didn't have the money in my budget should we rent out equipment? So because of spending it on housing and food and gas and stuff, so I use my own staff and then it still came out award-winning. So and my production value was still high because I did was instead of focusing on, oh, I have this fancy equipment or not, I focused on the story. I made sure the editing was really good. I measure the storyline was solid, and I had really good interviews. And that's what made it crane that emotion, which we'll get into that in the next chapter. So what I'm trying to say is that if you have two equipment, Oscar, I'm first to see if you're able to go to your local college and see if you can get it there because they do like trying to equipment to people, especially if you have a documentary, you can even get someone to intern with you. And like a student. And they in turn, student can use the equipment and use the documentary, things like that. You can runt, actually rent equipment if you want to, and that's totally fine. If that's in your budget. Totally cool. Equivalent thought too, too expensive. It just depends what you're looking at. And sometimes it's more of the lenses are more expensive than the body, sometimes in those ways. So if you ever really great body camera you have at home, and then you just use different lenses instead. Works great too. So you just keep the body that you have and just use different lenses. That works wonders. For my film. I had no length because everything outside. And when I was inside, I still don't have lighting equipment. I just worked at the lights because there's no way in a turtle sanctuary plays. I was going to put a ring light and there I did not want to disturb the turtles. So I worked with what I got and I were to just great symphony lighting equipment. Of course you can run to it. Those things are totally cool to do. But the big thing to understand is that that's probably a bulk of your budget is going to be the equipment and the people you're hiring. And there it adds up over time, love, it adds up. So if you're able to rent the equipment from a college or rent it from a friend even for free both places or used if you already have. I swirl come up amazing. So if I can use a T, a Kinte six, I rebel Two-third xy, and it comes out a word winning, then I think you can do it too. Even iPhones, he stays iPhones for great. It just a lot of things that I'm filming are now on an iPhone. And that's a fun these every day. So it's iPhone 12 Pro and love it. But that's another thing is just use what you have. So going into more of use what you have besides using what you have. Because for example, my editing software I use, I've already had it for six years, so I just use the same editing software I used before and all the equipment I just use, but I had before. Okay. So for when I was recording the sound, the narration for the documentary, I just used this. I didn't use a big fancy microphone. Disuse mentioned dollar microphone and it did the job just fine. 7. Chapter 6: Story: So now we're gonna talk about story really quick. Okay, so stories and cost anything but a writers do cost money. So it will say write your own story That is great, that would be the best bet. But what I suggest is that when you are writing and compiling your story together, that nature, it's very solid. Because if you were not relying on fancy equipment or all this expensive thing, locations and whatnot and travel and all that. Then you wanna make sure stories really, really, really, really good. Because to me, I would rather watch a low-budget documentary with a good story, then a big blockbuster, the husband no story. Okay. And I think you would feel the same. Maybe you want it. I don't know. I'm not you. But what I do know is that you really need to make sure that the story is number one out of everything, make sure the story is number one and then the sound is number two. Okay? Sometimes the sound should be number one, probably. So if you have good sound and a good story, double S's, you're going to be great. And then everything else will go fine. Not going to lie. When I was making the sutural documentary, I was concerned about, oh, I'm not using a four K camera. What's going to happen is this okay? And child to be great. Are there things that I wish I could have done differently on that documentary? Yes. Look back and cringe a bit. Yes, but that's the practice of filmmaking. The more you do filmmaking, the better your films come out, right? So while I'm going off about all of that, is that the big thing I really liked about that documentary was the story. So make sure that your story is excellent. If you want to learn more about story structures, I'm going to put it into the project section or the project section. I'll have all my resources there. So besides having your story and making sure it's like very good because that's going to higher production value. If, if the equipment isn't, at least that will is going on to sound really quick. 8. Chapter 7: Sound and Music: So cell bringing this up into two things, music and sound in general. This is a $10 mic and it worked really, really great for me. I don't know how they are now. I don't know if the quality is different. This mike is about five years old. I believe five years. Yeah. Five years old. This mike is lets you know, it's kinda old and it's still working great. I've never had to change the battery, which is hilarious, but yeah, make sure you find a really good microphone. Because if you don't have the money to have a certain kind of camera, at least have money and to the sound quality because people, they sound, sounds just important. It just makes the mood of everything. Have you ever watch a scary movie without the sound? Exactly. But if you watch a scary movie with the sound, that's more scary than just seeing it just the visual, right? So the same thing that your documentary, now that your documentaries scary, but that has a nice microphone, have a good sound. So if you're going to invest in something, invest in that. Also at sound rich are going to talk about music. Where do you get music? So I was lucky enough for that documentary that a friend volunteered their music because they wanted to put their music. And one of my documentaries, we've been friends for a long time, just worked out that way. But if you'd like tab music for your documentary, there's so many sites offer free music, but you do have to check the licensing. Because if you are selling your documentary in any way, shape or form, or if it's going to film festivals, stuff like that. You want to make sure that in the licensing and then the contract that it's okay for you to have that in there. So before you choose music, make sure you have your treatment done, which will tell you exactly what your end goal is. And then you can look at the contracts to make sure everything lines up how it's supposed to be. 9. Chapter 8: Subjects: Afternoon Sumerian going to subjects. Now, most of the time, I've had a whole conversation about this with the documentary forum, all about subjects. So some subjects in life wanted to be paid. Some subjects don't want to be paid. When I was making my award winning sea turtle film, I did not pay anybody anneal the subjects in it to said it painting the subjects while I did everything myself. So what we should kinda paint myself. But all the subjects do not pay any. I did, I did not pay that. Why did I pay them? Because it's a non-profit documentary. Yes. I put it in film festivals, but my goal was never to sell it. It was to show it to the world, but not to get money from it at all. Like if a streaming platform picked it up, I wouldn't want any money from I wouldn't even want to shoeing pot for me to pick it up because I want it just to be for the sutural Center to use educational film. And they said they're going to play it at their place and joke Island and stuff like that and they're going to have it in their database. So the big thing though, is non-profit. So for you, if you are making a point to sell it, discuss it with your subjects and make sure they sign a contract that states either way that they wanna get paid or they don't want to get paid. Anybody coming onto your set, if your film will get paid, have those contracts done. Everyone just be on a contract, Okay. And let them know to make sure that okay, if they're getting paid, what foreign y and is it going to be after, before just settled lot. But if you're able to have subjects who don't want to get paid and they're just doing it because they're hurt and they wanna do it. That saves the bank right there. Let's see. I had about four subjects and residual documentary that can very quickly too. I can be very expensive. Cuts it because it was non-profit. 10. Chapter 9: Locations and Permits: Going on. We're going to talk about locations and permits. Okay. So free locations are blessing, right. So make sure that when you are picking locations and permits, that you see the fine line if you have to pay for places, try to find public places because those who provide those are always going to be free public places unless you have to stop the road and get the cops involved and all that stuff. But if you use public locations, always free if you want to double-check if the location is usable or not. And versus a private. And you can check the Film Commission page of your county there. If you'd like to use a private business, make sure that you just get a little like notice saying, Hey, that they're not I'm not paying them for this. And they're just like we use location. But some properties they want you to pay. So you really want to make that just like if you can get it free, that's the best, that helps it. Low-budget documentary, I suggest now paying for locations. If you're able to not pay for locations, that would be a huge thing just to take off or off the bat. Don't even pay for a location scout. So that's also a save money. Don't pay for location scout. Do your own location scouting, ask around, and that's another hot to wear. But you are saving money now having to pay someone to find locations. And you basically know yourself where you want to do everything. 11. Chapter 10: B-roll and Fair Use Law: So never say never actually go on to be a role and also the Fair Use law. Okay, So since my doc writers non-profit, I was able to get a lot of beautiful stuff for free because he was non-profit. Does that make sense? So I'm not getting money. So they're asking for money, makes sense. See, rho goes around using money. Well, this is how it is. So the Fair Use law they've put into place that if you are making a non-profit documentary, you can use any color you want for free. Okay, also the Fair Use law, which I'll post appear so you get more of a clear indication of what it is. So when you see the Fair Use law and the behavioral law, that's exactly where it will be, just with this information here. So if you are, if you're thinking about with B-roll, the easiest way to save money is to, instead of buying stock B Roll, he used the subjects, family photos and videos, or if it's not about them, have them give you photos and videos for the documentary or friends and family can give you stuff for that if you need it. If you can find it, if they're part of the documentary, mean that your friends and family, but their friends and family, if they have anything, great, easy thing to do. I was working on a document is produced there and our main subject gave us a bunch of family photos That's priceless to have that. So worked up right now for me personally, this is this is between you and me. I think it's best to besides getting the B-roll from your subjects is to also film it yourself. Film the Bureau yourself instead of stock footage because stock footage, make sure film look fake. You don't want your films look fake. And also a lot of times their licensing fees, I don't know how much they charge if you put it into a film festival and all that stuff, such as them, the B-roll of you can yourself, and the Fair Use law is better. I think if you're making YouTube videos or if you're putting on YouTube, It's just basically telling you that like, hey, you're using this because you just want to educate the public. And that's why you're not trying to sell anything. You're just trying to use it. So the various law works more for non-profit. Where eyes, if you are selling it, just film your own B-roll, make life so much easier. 12. Chapter 11: Grants: So this one I'll tell my clients about this some times when I feel like it's necessary, if they feel like they still need money for their film. And where do they go with? It's a great place to do it. Well, there are production companies that do sponsor other documentaries. Does that make sense? So they will give you money for the documentary to make it, and they came and give you a equipment. So certain production companies do that. You can research them and find all of them. You can get grants from the government and the state from the county on certain subjects that they need. A lot of times the subjects are really obscure, a MAC and a lie. And they want you to travel really far and it's nothing what you wanna do. But there are some grants out there that can help. You can apply for a grant to get, apply for one. You can go to film festivals and get grants there. You can do different pitching of your documentary and get money that way. But this course is more about how to get money or how to get funding and smart about how to cut your budget. So I won't go too much into that, but those are ways you can sort of get some more money, like going to honor societies, historic societies. I was making a documentary with the Historic Society and yeah. 13. Chapter 12: End Goal: And the last but not least we're going talk about is film festivals versus streaming sites versus TV versus non-profit. All die could stop this, the last one, because I thought this is very important to take note. When you enter film festivals, it cost money, right? So make sure that in your budget. Now, going to local film festivals are ones that are more close to her home, are going to be cheaper than, let's just say the Cannes Film Festival or Sundance, right? So make sure that you, the way to cut your budget and to help you save money. Is that after you do the documentary this afterwards? Because he had been before, if you want to, it doesn't matter which way. Write down a nice chart of an Excel sheet of all the different film festivals you want to go to, and how much they cost and what their deadlines are. That way you'll know which one's, which one's the best. And he can start narrowing them down to a certain amount you want to do. Because if you're on a budget, you'll want to waste all your money just on film festivals. If you don't. I mean, because they can cost, can be expensive. Some people spend up to like a few thousand dollars just on film festivals. It's crazy, I know, but that's what they do because they want to get the film out there. What I've I've been of, gosh, hundreds of dollars a couple of times, has been like a hundreds, maybe a thousand for certain places with different things. It's all over the place beyond to the amount of different things I've done and projects have been a part of. But just make sure that if you would like to cut your budget on film festivals and trying to apply the streaming sites and all this stuff and commotion Is that really fine tune your end goal at the beginning of production, like in pre-production, and to know what film vessels really speak to you and where you really want to go. Because remember, film festivals are a great place for networking and meeting new people and just exploring your industry, but more. So, don't forget about that. 14. Outro: All right guys. Thank you guys for watching today's Skillshare course all about how to cut your budget for a documentary film. I hope you guys enjoyed this course today. I know I did. It was fun to talk about all these different aspects of filmmaking and everything. And I hope you guys enjoyed the course. Don't forget to check out other courses here I have on Skillshare. And if you need help with cutting the budget on your film, or if you have certain things such as writing, directing, or consulting, you need help with. I'm here to help you so you can find my website and check that out. And overeager. But the project which would be just you, a commonly community page, which tip you liked best, and which one would you use for your next documentary or current documentary? So enjoy the rest of Skillshare and I'll see you guys next time.