How To Make Dope Low Budget Films | Julian Klepper | Skillshare

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How To Make Dope Low Budget Films

teacher avatar Julian Klepper, Julian Do Movie... You do movie?

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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

    • 1.



    • 2.

      What Is This Class?


    • 3.

      Class Project


    • 4.

      Writing Your Movie


    • 5.

      Writing Conflict And Characters


    • 6.

      Writing Visually


    • 7.

      Writing Dialog and Re-Writing


    • 8.

      Re-Writing For Production


    • 9.



    • 10.

      Hiring Your Crew (DP, Sound, Etc)


    • 11.

      Shot Listing


    • 12.

      Production Shooting


    • 13.

      Post Production


    • 14.



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About This Class

This class is step-by-step guide to creating cost-effective narrative films. Taught by award-winning filmmaker and film educator Julian Klepper, it covers everything from writing on a budget to casting, hiring a crew, shooting the film, and editing. 

Having gone to film school, teaching film for over 10 years, and producing many high-quality low budget films for under $500 - Julian Klepper has mastered a unique approach to low budget film making. Simply put, the only way to make a great low budget film is to understand all of the various components of filmmaking (cameras, lighting, actors, writing, etc), prioritizing, and learning simple tricks/tools for getting the most out of everything and everyone. Julian will cover it all in this class!

Meet Your Teacher

Teacher Profile Image

Julian Klepper

Julian Do Movie... You do movie?


I'm Julian: a filmmaker, film teacher, and the human behind Les Tigres Productions. I direct, write, edit and produce super low budget narrative movies, which I call Smoovies. Smoovies are super short films that are both in part comedic and, part dramatic, and created to purposefully examine larger topics. As of 2019 various Smoovies have screened at the New York City Independent Film Festival, Austin Micro Short Film Festival, and The Houston Comedy Film Festival. I also wrote, directed and starred in the web series: Free Therapy, for which I graciously received the Webfest Award for Best Actor.

Being half Haitian and half Jewish, my work showcases worlds where diversity is paramount and characters often b... See full profile

Level: All Levels

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1. Trailer: Making a movie is incredible. It's this fantastic process where you go to transcend space and time and take your sentiment, your ideas, your feelings and emotions, and put it into a tangible thing where you just able to press play and then you have something forever. It's spectacular. However, it's not easy. I went to film school, learned all sorts of stuff there. When I left film school I started making my own movies and they never looked how imagine them. Mainly because what I imagined is actually really expensive. Slowly but surely I started experimenting to see if I can make low budget films with really good cut lights here, cut things there and finally, after ten years of experiment and even teaching film, I came to have a formula where I'm able to make really good high-quality film for all less than 500 bucks. That said I want to be your guide to show you how to make dope low budget film and when it goes from the writing process to the producing process to the editing process. Eventually, if you take my course, you will have a finished film and you will be proud to even show your grandma or your mom or that weird kid on the street, show whoever you want and these should be make something that you're super proud of. So please let me, save you time, money and heartache, and show you how to make dope low budget cinema. Thank you. 2. What Is This Class?: Hello. Hi. How are you? This is how to make dope low budget films with Julian. Yes. Lola. Thank you. This is weird if you don't know me. I'm going to introduce who I am. My name is Julian, I'm a filmmaker. I'm also have been a teaching artist and I've been teaching film for the last 10 years. Lola was one of my students. Yeah, definitely. I met Julian when I was in middle school and he was the first and best film teacher that I've had. He really inspired me to pursue a career. I agree. I feel bad that you've chosen this path. It's your fault. I know if you don't ever make huge amounts of money with this film stuff. That's all right. We're going to learn how to make dope low budget films today. It's important that you guys trust me along this process. Because if you don't, you'd be like, I don't trust this guy. I'm going to tell you why you should. For the last 10 years, I've been making low budget film. I started off in my first pilot, Hey There Stranger, it cost about $10,000. After I made that, I was like, You know what, I think I could do this for a little cheaper. I started doing this show, Free Therapy. I started experimenting with less crew, different sound stuff. Eventually I came and I found a format that really made sense and it looked really good and was still really cost-effective, and I eventually started making these things called Smoovies. I got a job now. A job? It's because of Smoovies, pop. Smoovies are the short, surreal kind of comedy, strange films. Oliver? Is that you? They're almost like little comedy sketches but as like an individual film. Yeah. Yeah, a little more serious than a comedy sketch. The thing is about them, each one of them costs less than 500 bucks to make, and I shoot them in less than a week, and that's how fast I edit them. They've screened basically all around the world and film festivals and what not. I'm a smoomovie man. All this stuff that I'm teaching you, it's not what I learned in film school, because I went to film school, it didn't teach me this stuff. This is like 10 years of, You learned it in life school. Life school, the school of hard knocks. This is like 10 years in the making, and 10 years of experimenting, and 10 years of actually teaching this to other people. So, yeey. If you watch this, what are you going to learn today or over the period you watch this? Okay. That's a great question. You are going to learn the basics of pre-production. That includes writing, planning for the movies, all that's fun jazz. Then you're also going to learn production. How do you shoot your movie effectively? I don't know. You do a little bit but. Yeah. Okay. Then how do we actually edit? How did we do post production? How do we do sound? How do we make it feel jazzy? How do we have a really good piece? Every once in a while, we're going to have pro tips. Yes. Like pro, because you're not learning from an amateur. I'm a OG in this. Professional. Professional, that's exactly right. Thank you Lola. First things first, before we get into anything. I want to make a disclaimer about creating films. When you make a movie, do not be outcome dependent. Yeah. What do I mean by that? Don't be outcome dependent. That means, oh, I'm making this movie because I want it to screen at Sundance, or I'm making this movie so I can make money off that. If you have an outcome that is completely dependent on you creating something, you lose the process. Yeah. You're too goal-oriented and you don't enjoy it. Exactly and each step of this is really fun. You're taking some theoretical idea in your brain that you're like, oh, I think this may be cool, and you're actually making it happen. That's a beautiful thing. Then you can just press play and people watch it and that's so cool. Each step of the process is really beautiful and I think you really need to enjoy and be present to the process. So don't be outcome dependent. Fair enough? Yes. We got that, okay? Yes. 3. Class Project: Making a movie is a lot of work. I fully recognize that. Maybe you just want to do everything before production, so that's shotlisting, that's writing your film, rewriting your film, that's even making your character creation worksheet. All of that, I think it's a reasonable expectation. Then if you upload that online, I'm so happy to comment, give any feedback, hopefully, I'm not mean, I am not going to be mean. Why would it be mean? I'd be like, you are stupid, stop making movies. I'm never going to do that. I'm going to try and be encouraging. If you do also want to make a movie, I will be here and there will be more information that you can clean from this class, which will totally help you in making a good low budget film. That would be great if you want to upload that as well too, but I don't reasonably expect that. However, if you do that, that would be super cool. Period. 4. Writing Your Movie: Making a movie. What are you going to make that movie about? When you're writing a movie, I don't care what genre it is. I don't care if it's action, horror, rom-com. What I look for and what I think is really interesting is when there is vulnerability. You know what I mean? When someone is very emotionally honest and real, and I can relate to that. Any character, it doesn't have to be, the whole movie, it doesn't have to be in all of it, but I need some emotional resonance for me to really care, because it's like, why would I care about this? You need to feel connected. I need to feel connected. Connect me to another human being. Really get me to believe or dislike, or to feel something. Empathize. Empathize with someone. It's a great skill. Just as a tip, pro tip number one, I suggest very strongly that you either write about something that you find to be immensely intriguing, something you're really curious about, because it's going to take some time for you to make that movie, but if you always are coming back to something that you're intrigued by, you can always find something new and something engaging for you to engage into that piece. The other thing is, do not be afraid to write about things that you are scared of. Be vulnerable with yourself. Don't be afraid to really touch deep on some deep human things. Sometimes when I'm writing and I'm scared to write the next line, I know I feel really connected and I feel really emotionally. Audiences will pick that up. Yeah, like that. I'm really touching on something really important and vulnerable right here. For instance, I'm very much so scared of death, and I've had people in my life who I cared very, very deeply for, who I've lost. It's hard for me to write about that, but I know it's real in me and I know other people have experienced that before. If it's death, if it's loneliness, if it's sorrow, if it's losing your money, just find a way to connect with the human being that is honest and real, or your viewers and yourself. That'll take you pretty far. Make a list of your fears. This may seem a little strange, but I think it's important to access something deep and vulnerable inside of us, so we can transform that into art. Also, some fears can be goofy, like maybe you're scared your grandma don't love you, that's a fear too. Also, write a list of your interests. Maybe you're into carpentry or maybe you're into AI, or maybe you're into your grandma's best friend. I don't know. I'm not judging you. Hopefully, these honest pieces of yourself can find a way into your script and inspire you to create. 5. Writing Conflict And Characters : When you're thinking of ideas, I want you to also think viscerally. Think of maybe like, what creates tension? What creates conflict? When someone loves something, Is that taken away? You know what I mean? That's what really gets me emotionally engaged into a movie. It's when there is a conflict, when there was an obstacle, when someone has a difficulty achieving the thing they want. What is conflict essentially? It's just like wanting something and not being able to get it. Oh, can I get a coffee? Oh, sorry man, were closed. But you have some right there. Sorry. I have to dump it. It's company policy. Yeah. It's so simple. It's really that simple and make that relatable, make that visceral, make that real. If you do that, then I think you're going to have something like, interesting at least to write about. You can have that happen pretty early on in your movie. It could be the first scene, It could be [inaudible] yeah, or maybe you're developing character and you really believing and seeing what they care about and maybe what they cared about is taken away from them. Can I, can I have some?[MUSIC] No please Sorry. I often times nice movies, I start with a concept and I know I have a conflict and then I really start, I run with it, I mess with it. Then I have a lot of fun with how conflict is resolved. Maybe it's normally resolved, or maybe it gets very weirdly resolved. Maybe the conflict itself is very strange and has a very normal resolution. I think that's a really. [inaudible] Yeah, a fun way to play around with stuff. Another thing is, you may be stuck thinking of ideas. One thing that I find incredibly helpful is I just listened to music and all different types of music. You need that with me and it really helped me calm that is. Yeah, and then the scene may just come to you, you know what I mean, maybe it's an intense song and you stab someone and then, candy comes out of them, or a confetti and then it's this other person. Yeah, and then boom you wake up. I don't know what's happening, and then you're in a dream sequence. Whatever, just think visually right here, as far as what you kind of like want to attach to your music. So, you have a general idea and maybe you have a general concept, maybe you have a conflict too, and you have some characters involved. Here's what I want you to do after that. I want you to know everything about your main character. All the backstory story, write it out, okay, what do they keep in their pocket? Where are they from? What do they wear? What are their difficulties in life? What do they want? What's preventing them from getting what they want? Who's a person they have a crush on? What's the weird fascination, did I say that right? Fascination, yeah. Fascination with what they have in life. What are they into? Figure out all these details. How do they spend their time? [inaudible] What is their family like? What are their friends like? If you know all of these things, then you really can start building a three-dimensional character. Yeah, and you can really write as they were still connected.Precisely. I have like a character creation worksheet which I'm going to share with you, which if you fill out all the things that really know a lot about your characters or characters that are involved there. You do not need to put all of this stuff in your movie, okay. If they, had a stubbed toe when they were twelve and they look at their stubbed toe all the time, because it reminds them of a.Of the newsYeah. Maybe that's a detail you wanted there. Maybe that's just one thing that you give to your actors because It really helps the actors too identify as well Yes, I dabble in acting and it's really helpful when I have a good background, and I know a lot of stuff about my characters, which lets me create either a voice or a reality to which they once lived in or which they do live in. It allows me to be more authentic and present in my character. The stuff you know about your character, you can make it malleable. We're going to have to talk a lot about malleability because that's one of the things where you, that's how you actually make a good low budget film, is you malleable to the world and the characters that occupy it, and the characters who are, and the people who are going to play it. Figure out the major conflict in your story. It can be big or it can be small. Brainstorm on this, write couple of different ideas and pick your favorite. Also, fill in the character creation worksheet for all the main characters in your film. The more you know, the better. 6. Writing Visually: You know your characters, you know your conflict, you know your basic story, you know which ideas that you're writing about. Now, here's a major thing. It's a pro tip you've probably heard a lot, show-don't-tell. Thank you Ela. There you go. Show don't tell. If your character is a sad and lonely person, they're not going to go tell somebody like, "Hey, I'm sad." or maybe they do. Yeah, not everyone. But not everyone really does something along lines of that. What you want to do, and this is because you're making a film, it's a visual piece of art. Not just a pay. Not a play. That's exactly right. You want to be able to see your character being sad or lonely. Maybe that's them in their house eating a carrot. I actually think I have that exact shot from me in a movie. Let's play that. Or maybe it's them just look really exhausted after a long day. You want to show people actually doing the things. Their actions. Yes. I like just watching characters over time and seeing how they interact with their space. You can find out a lot about them. Yeah. It allows you also to put just a lot of, I don't know, an interesting imagery that you want to watch when you do show, don't tell. Also, you don't want people just explaining stuff. There's a lot of cool stuff with subtexts which we're going to get into later. But you want to visually make sure that your film is engaging. One of the things that happens when someone sends me a script or even I'll go through and I'll see a script. If I have someone overtly stating a plot point or if someone is saying like, "I'm sad or lonely," I just cross that out. I'm like, "Get rid of this. You don't need it." Then I'm like, "I try and find a more interesting way of showing that." Go through your script, see what is a little too overtly like telling someone to figure out how to replace that with a visual. Blatant like exposition. That just doesn't happen. Yeah. One of the things I really do like about my movies is that so much of the time it's just a very visual piece and I'm a little bit ahead of my viewers. I'm the demigod of a universe as the writer and film-maker. I can be a little bit ahead of them so they are just like, "What is going to happen next?" If someone can presume or guess what's going to happen next and it actually happens, it's boring. Yeah. It's not interesting and they won't stay engaged. Yes, precisely. Two, you always are going to be playing with expectation. Someone's going to have an expectation watching your movie and then you need to subvert that. Or maybe you go right towards that and then you take me away. Mess with people as a writer. That's it. Your audience is smart, be one step ahead of them. That's a pro tip. Yeah. There you go. We have show-don't-tell. We have art conflict. We have a full in-depth character. We have a basic idea and now we're moving forward. You're probably going to want to just write an outline of your basic story. Maybe that gets messed around with a little bit and once you have that outline basically filled out, then you should start writing your film. Write an outline of your film and then write a draft of your film. I suggest using a free software like Celtx. Note. I'm not really here to show you the technical aspects of creating your film, but there are links to guide you throughout the screenwriting process. Make sure to have fun creating and be loose in your first draft. See what comes out. Also, remember to emphasize the visuals.This is not a play. Show-don't-tell. 7. Writing Dialog and Re-Writing : Dialogue is important. Sometimes it's really hard because, maybe you have one character in your mind and then there's another character in your mind, you're having them talk back and forth. It's hard to make that realistic. Yeah, and you need the characters to sound different. Just because one person's writing them, they have to sound like individual people. Yes, and so you should reference your character creation worksheet and your character bios, to be able to understand how someone interprets the scene differently than someone else. What I find fascinating about film, and what I find fascinating about life is, you have had this entire life experience before we sat down here today, and me too. Yeah. Right now we see eye to eye, but if we came into conflict with something and we don't see eye to eye, you're exposing your entire worldview and the things that have made you via each line, and I'm exposing mine, and neither is exactly correct. Yeah. There's going to be this really interesting tension that's created when two people are talking and they either don't agree, or they're coming from different perspectives. That's really fun, that makes good drama, I like all that stuff. It reveals character in a natural way. Exactly. One of my pro tips, I like to work with a friend who is an actor, after I've written some dialogue, or I work with two actors, and I have them do the scene back and forth. I give them the general beats about where the scene is going to go, and have them read it back and forth and practice. I've been watching you dookie. You watch me dookie? Yeah I do. I like that. Then record them, and I have them do it five time. Then I listen to that and I take the best of the stuff that they do and I rewrite that, and put that into my dialogue. Base it around them. Yeah and then I actually hear it, and then I'm able to change stuff and hear what the characters think, and feel. If that person is actually going to eventually be in your movie, it's really helpful for them, and you to write for someone's voice. That's a great pro tip. Lola did the editing. Yes. I have included it here in the future. There we go. Thank you future Lola. Thank you. The other thing about writing dialogue is, I bet you're going to write some really cool, interesting dialogue. Yeah. But if your actor You especially. Yeah, you especially. If your actor can't do it and they can't give it perfectly, don't be dogmatic, be willing to change it, or else it's going to feel unnatural. Yeah. Just be willing to experiment, get weird, and have fun with that. Also, this is one of my favorite things, subtext is my shit. I love subtext. We all do, really. Everyone? I think so. Okay, good. Subtext is really cool. Subtext is, if I'm feeling really angry about something, I'm not going to go out, most of the time and just start at a 100, and explain. No, it comes out. Yeah, but I could be talking to you about something else, but really I'm talking to you about how I'm fucking pissed, you know what I mean? You can reveal a lot with subtext, and it's really interesting. It allows you to be one step ahead of the viewer, viewers like subtext because people like to read into. They like to dig in and see what meaning it can mean. Precisely, so anytime you're reading your script, and you're seeing something that's a little too obvious, cross it out. Yeah, just get rid of it. Yeah, and just try and think about how characters like action, or how they're maybe thinking, or they're touching something. It's also really helpful as an actor to have a proper something you could touch. Active business. You know what I mean? It keeps them busy. How that can reveal subtext, because if you're eating a sandwich alone and you're sad, I can tell that you're sad, or you're really worrying about something. There's an interesting subtext there. I'm really into that, what do we call that? A sadwich. Thank you. It's a sandwich when you're sad. Work with an actor, or a writer friend, or whoever is down to improv your dialogue back and forth. Record this and play it back when you're ready. Use the best of your improv scenes to make your dialogue fresh. Also, cross out any obvious exposition and figure out a way to make your story more visual, and not verbal. 8. Re-Writing For Production : You've studied your script, you wrote it out, you've put your conflict you've showed and tell, you have interesting subtext. One of the things that you may want to do is those people that you really trust, share it with them. Yeah, get feedback. Get a little feedback, but when you get feedback, make sure it's feedback you actually want? Maybe guide it a little bit. Yeah, guide your feedback. Ask people specific questions that would help you to change the things that you want. If you're like, "I'm not sure if this seems a little weak?" Maybe is there any ideas that you have that would help to beef up the character tension. Are you really believing my dialogue here, and then people will give you specific feedback? You don't want general feedback where someone's like, yeah. That's too much and you can't use all that. Yes, precisely. That's, really hard. Now, this is like we're getting to the pre-production and the production aspects of this. This is a big pro tip, if you want to make an affordable, low budget film, you must rewrite your script based on things that you actually have and people you have access to. It saves so much money and time. So maybe you work at a bar, so you can shoot a lot of the scenes at the bar, you just ask your boss for that. Tailor your scenes to where you have access to. Maybe you don't have access to everything. But a lot of the scenes, you should know that you have a cool place to actually shoot them at too. Also, it's really important and it's way easier sometimes to shoot outside. Because the natural light can save you so much. Natural light is your best friend. It looks the best. Tips about natural light, you don't want it to actually be a super sunny day, you want it to actually be a little cloudy or you want to shoot it in the shade a little bit. Otherwise, it will get blown out. You'll get blown out. But we'll get into that a little bit later on. But the thing is about outside shooting, someone may walk by. Yeah, like pedestrians. There could be noises or planes. So there could be a lot of difficulty in that. So you may want it to be in a slightly more controlled outside location. So I suggest writing a lot of scenes that instead of them being inside or outside, but making sure that you have a possible good location for that. That's going to be your best friend because natural light loves you. And cameras nowadays are great at picking up nighttime stuff. Here's another note about rewriting. If you have a friend that you know is a virtuosic performer, or is a really interesting person who could play a character well. Kind of adapt your character. Put them in the movie. Yeah, adapt them to that person. Write, for the talent that you have available. Because casting, sometimes it can really suck and it's really hard to find a very talented person. Yeah. But it can make or break the movie, really. [MUSIC] Adapt your screenplay to fit locations that you know you have access to. Also adapt your characters to actors who you know personally would do a killer job. 9. Casting: Now we're getting to casting. Casting sucks or it could be super cool. But sometimes you're in casting and someone like. They're just grueling. Yeah so you have to use all of your resources and databases of cast, okay. That's backstage dot com. What's the other one? Actors Access. Yeah. Casting networks or something. There's Casting Networks. Just go Everywhere. Make a casting call thing, a casting sheet, you write a little detail about your character and then you put it up online. It's pretty simple. But then you get all these people who reply to that, okay? Yeah. It's hard a lot of times for people to come in and do a one-on-one session with you. So sometimes you'll have what you call "sides", which is like a scene from the movie. Out of the script. Yeah and they'll read it for you and they can just send you a video of that if it's too hard. Videos sessions. But if it's easy for people to come in and read stuff, then do it that way. That's [inaudible]. It's a little creepy if you do it in your house and you're by yourself. Yeah. I've done that before. Really? Yeah. Girls who've been creeped out. Try to avoid that as much as you can Try to avoid that so find an area or maybe an open, not an open space. Some office or like a neutral place to you. Bring someone along so you don't feel creepy because I don't know. It's one-on-one so you'll never know. There are a lot of creepy people in this world or people give a disclaimer, I'm not a creepy person. This is alright. Yeah. Just say, you know this is where I'm at. This is how I need to do stuff just so it doesn't seem. Just to communicate with people. Precisely. Okay. So you're putting it up on all the major websites you're bringing people in. Hopefully you can find someone that really fits the role and give them as an actor and let them doing their scene and give them a little room to swing a cat. Great Marlon Brandon style Yeah, the great Marlon Brandon. Brandon was once in this movie "The Score" and had to do a line where he had to say $1 million and the cameras zoom in, they get ready to be like "1 million tomatoes" or he'd be like "1 million clamps." then the director was like, "Dude, please just do it normal", and he's like, "I need a little room to swing a cat." I love that line because it's like you've got to let the characters and the people make it feel natural and real for them. Your dialogue may be great and maybe you need a very specific line and very specific way. Don't be so dogmatic. I think being dogmatic doesn't allow you to always see the best truth available. Actors can surprise you and give you stuff that you didn't plan for and it happens and it's amazing. Precisely right. This is a super pro tip, are you ready for a super pro tip? Yeah. If you have a little bit more money, you can reach out to the agencies. You can use IMDB Pro, you can call the management company, let's say of an actor, if this is your first film, then that's a little harder to do. You can reach out, you call them, be like, "hey, I have a role. It's maybe 250, maybe it's $400 a day, maybe only need them for three days for this actor and you reach out to a name actor. You call their management place for giving you an e-mail to actually send it to and sometimes they may actually end up doing it. I've seen it numerous times with my friends who've gotten a name actor to be in their movies and they've paid them like 250 bucks a day. Actors like work and sometimes it's smaller stuff, so trust yourself and if you really want to get a name actor that way, because that's sometimes the best way to make sure that someone can do your scene well is if their a name actor. This is a low budget Cinema class, I always still pay my actors, even if it's 20 bucks a day, just a little stipend. But a lot of people try and get away with not paying their actors.That's shady. They're working for you, they're doing a job. They deserve it and it's going to make them want to do better for you. Precisely. Cause they feel respected. Yeah. It's 20, 50 bucks. But if it's a name actor, someone who's been doing work, you have to pay them a little bit more. You can do this, like the cheapest SAG rate is a 125 or 150 bucks. Somebody who uses SAG could do that. There's always ways around that stuff. Just work with that. So we've casted your movie. So once you have it cast, have the actors read it back and forth, kind of rewrite it to someone's voice to make sure that you're really or rewriting it a little bit to their strength. Posted casting breakdown insights to the various websites. Do me a favor. Be prepared for some terrible actors to do a terrible job reading your words. Do not be dismayed and do not settle. Casting makes your movie. Note, if you're not making your movie now, post a scene anyways and get a sense of who's out there. 10. Hiring Your Crew (DP, Sound, Etc): Often times you can hire a producer. But really if this is like a low budget short film [inaudible] Then you're always going to be involved in every part of it. You're going to be your own producer. You've written a lot of this for you to figure out because you know the locations that you want to shoot the stuff at. You know the people, you know the stuff. Producer basically just plans your movie. They get to other right people involved to make this. I'm teaching you skills to be a producer right now. They put together all the pieces. Yes, you must put together all the pieces. But it's nice to have someone who has your back and also is helping in filling in the stuff. Right now you're director, you're a writer, you're a producer. You're doing all the things. You're a casting director. If you learn all those skills that makes your movies so much cheaper, period. You're going to need to hire actors and you're going to need to hire someone who shoots it. That is called a director of photography. Do not shoot it yourself. Unless maybe you're a DP. But even if you are, I think that's a bad idea. You're your own camera person. You need to have the distance. You need some perspective. Precisely. You're too close to it if you're also directing. If you live anywhere near a city, we live in Brooklyn, there are so many people who have cameras, who like to shoot stuff, who have their own equipment. It's so much cheaper. Yeah, it's fun for them and they'll enjoy it. Here's a couple of rules for when I hired DP. I posted on Craigslist. I posted it on a as well too. I would be, have your own equipment, then I post, send me what your equipment is, when I write up what the piece is. I'm able to look at what people's equipment lists is. They have these various different lenses or if they have a different camera, or even if they have some of their own sound equipment, that's a really good thing. Then you want to look at their reel and scenes that they've shot. Does it look pretty? Does it have your vibe? A lot of reels would just have the beauty shots of stuff. It really isn't indicative of what that person is a DP. You need to see their standard work. See their work. See the films that they've actually shot. Do your research. Does it look good? Does this have the feel that you want exactly? If it doesn't, then don't hire that person. Yeah, because you're vibes will clash and then it just won't work. You have to pay a DP. But how much you paid DP? That's the question. I think you can get away with paying a DP as little as a $150 a day, though I don't suggest it. But you probably want to have a budget between $150 to $300 a day for a DP. This is for your low budget film. If you want to go for a higher budget stuff-. Then it'll be more. Then it'll be more. That includes them, they're your director of photography will bring their own equipment for that. That's why if they have a better equipment list for all the things that you want, that's really good. Nowadays, you basically want to be able to make sure that they aren't shooting, a rebel or like some sort of crappy camera. But there are a lot of great cameras that will work for your piece. You just want to look at the cameras, look what they've shot, see what their equipment is. Do your research from there. And the lenses. The lenses to which someone shoots on are a very important thing. I love to shoot on super long lenses. If you see this shot right here of me, this is on a 70 by 200 lens. I love this lens because it gives you a lot of depth. You're allowed to have a shallow depth of field, but also gives you a lot of lengths. I like to shoot Stefan long group lenses. And so what is a longer lens? Longer lens is one where it's a little more cropped or zoomed in. That's because it gives your barrel a little bit more length to it, and allows you to have more stuff in there and makes it feel it's a more occupied France. When you get beyond a 24 millimeter lens, and it gets to be wider than that. It starts to gets a curvature. And it makes faces a little fatter. It affects the way that the actors.. Yeah, I don't really love wide shots on low, for low budget cinema. I don't really like prototypical, just boring static wide shots. Yeah, make it interesting. You want to look at this, make sure that your DP has various lenses. Probably when you hire them, you want to do a day of test shooting. You want to look at how people's faces are. I think it's important to budget for that. Ask them if they're willing to work with you, and to do a day of test shooting, maybe they'll give you a discount rate. It's a half-day, and you can just see what looks well, with their lenses. You're seeing the various things that make sense for you. But also trust your DP a lot. They know what they're doing. Don't try and control them too much. But at the same time, you know what you want. You tell your DP, I want it more from this angle. I want it more from that angle. Be clear about exactly what you want, and that person will work and tell you and they'll give you feedback. It's a collaborative community of process. The relationship with your DP is a very important one. I write query. Any notes on that from the guy from behind the camera? Yeah. you need to work with the director on the framing, the mood, and the feeling that you're wanting, but then, I love when the director is like, okay, now you set it up. You figure out what stabilization method you use. You figure out where the lights are going to go, what lights you are going to use and how we are going to create that visually. One of the things that you want to do is make sure you communicate to your DP. This is the mood of my movie, this is the darkness or this is what I I'm going for, then you give them visual reference points. You can even shout-out other movies or different things. Screenshots of stills that you like from other movies. Precisely. Maybe you give them a color palette, or maybe you give them something to work with. The more details you have in mind for how you want your movie to look, the better it's going to be. The more information that Director of Photography has. I said, let your actors have room to swing a cat. Let your director of photography have room this swing a cat. Two minds are better than one. Make sure you're the one as the director, who's making the final decision, but make sure to get the best possible input that you possibly can from the people who you're working with. Another major thing, always hire a sound Person. So important. You cannot do sound on your own. You need good sound. Unless you're a professional sound person and I'd still recommend that you hire a sound person. You need good sound for a movie. A sound person will go put loves, but they'll hide them. They'll put a boom. Thy will make your scene, and they're the ones in charge of that. A sound person can cost anywhere from a 150 to 250, or, you can obviously pay more and better than that. When you are hiring a sound person for the day, there'll be about a 150 to 200 bucks for the day. That Is definitely worth it. It's definitely worth it. I've had bad sound and it ruined stuff. It takes the view out of it completely. Precisely, always hire a sound person and, if you have the money to pay someone more, do it. If not, then these are pretty fair rates. Where do I hire a sound person? I'll go on Craigslist or on I'll make a post. I'll give a little bit of information about the film. Basically I look through their equipment lists, their inventory, I'll hear their sound reels, and I'll make an assertion about who is the best. I'll reach out to a couple people. You always want to have a backup. Yeah, because people, especially with low budget stuff, they always canceling and that's a big risk. That's a big thing. That's another big note. Always have a backup. Need two plans for everything. Have a backup plan to your backup plan because you do not know what will go through, and who will just not show up. That can really screw up your stuff. Yeah. When I talked about my first film that I spent like $10 thousand just making a pilot on. I had a Gaffer and what a Gaffer does they light the whole scene. They make it so intricate and do all these different things on there. They're so valuable, and important to a real film set. But here's the thing, you're doing with low budget film. Hiring a Gaffer and means that there's probably a best boy, or someone else assisting and how lighting.. It comes with other a lot of elements to it. Yeah, and it takes time to set up lights. Lights takes forever. It can be a very laborious thing. When you watch a film, you'll see all the lights and it's important. Lighting is very important. But if you have the basis of lighting, if you have a little bit of a fuse and just an LED, if your DP knows how to do basic lighting when using your natural light that you have available in your scene, you can get away with not having.. You can find ways to get away with it. Not only can you get away, but you can use light to be your best friend. Also you want to be able to shoot a lot of scenes outside, in the exterior. That the best lighting. That natural light is your best lighting. I suggest try not hiring a Gaffer for your film, your DP maybe like, I really need a Gaffer, and toxic conversation for you to have with them. But you can get away with it if your DP understands lighting. When you're hiring DP, you want to also ask them, what do you know about lighting? How can we get away with not having a gaffer? They can tell you, I've done this before. That's a great conversation to have with them. It's important if you really do want to do stuff with lighting in your film is very dependent on moody lighting,. It's all star lights. Yes. Then hiring Gaffer is a really important thing. Every rule can be broken that I've told you, but there has to be a very good reason for why you're breaking the rule. Has to be intentional. That's right. Thank you Lyla. The thing is also about hiring a Gaffer because it takes so much more time to set up lights. You don't have as much time with your takes. You don't have as much time to work with your actors. You're working with low budget actors, which means you're not hiring. Yeah, they already need, I don't know. They already need a little more coaching. Yeah. I'm sorry to cut you off there. They need a little bit more coaching, they need a little bit more time, I love as an actor when I can just try different stuff out. It takes experiment.. Take a little differently. But also Reel it in. It's very important that we're able to experiment with that and with that a little bit. Post an ad for DP who has equipment. Then when you get responses, vigorously research all the equipment that DPS have, see what you like equipment wise, and see whose work you like. Interview your DP and find one you vibe with. Do the same with a sound person. Note, the sound is not as important as a DP, but it's still important. Do the same. 11. Shot Listing: You're planning your movie now. Yes. You want to plan if it's a scene where it's pretty intensive scene where it's a lot of angles and shots of how you actually do. Even before we get to there, read over your script and do a breakdown, you should write out a shot list, that's each shot that you want in your scene. It is a dumb idea to try and do a storyboard unless you're a great visual artist. It just won't be helpful. It won't be helpful, but maybe you really want to storyboard because what you're doing is just very detailed and involved, but for the most part, do a shot list instead of a storyboard. What is a shortlist? A shortlist is each scene that you're looking at, which shots you want in your scene. I suggest you do some coverage. What is coverage? Coverage is getting the same scene from multiple different angles and sides of shots and framing, because that just helps in the editing process to change between types of shots. Most of the time you'll start with a master shot and that's also can most of the time be a wide shot. That's the action of the entire scene. Precisely. Sometimes it's important to have a dynamic wide shot, or just a really interesting wide shot, because if you don't have enough time and you can't get your close-ups, There is always a fall back When you're shooting your scenes, you actually start with your wide shot. But maybe you want a slope ocean on your wide shot the entire time. That's perfectly fine. Little things that make it a little bit more interesting. I have a huge note as you're planning your shot list. This is a pro tip, you're ready for it? Pro tip. When you're doing your shot list, do not overly complicate your film. Do not be like, camera pushes in, camera pulls out, you follow the character in a sweeping thing. That's fine if you have tons of money. Yeah. But whenever there is movement in a scene, whenever there's a lot of stuff like that, that takes money. You need rigs. Exactly. You need a rig, you need a dolly, you need a jib. You need all these different things that makes it more money and it makes it more difficult for the actor. Because also if you're doing a push in like that, then you need to be able to get focused perfectly. A focus polar. A focus polar, that's your AC and if you can live without that, that's fine. Focus on what's important for your story. Maybe there's a moment where you really do need that one special shot, that's fine. But don't write your movie full of those things. All the time I see crappy movies that try and do too much and it's like, "bro, you're not an actual big-budget Hollywood movie, you don't have the ability to do all". If you try to fake it, It's just going to look cheap. Yeah, people know. They can tell when it's not the real quality movie. But if you've gotten to the level where you really think you can do that perfectly and that's essential to your storytelling, do it, but it's probably not. Go through your script and make a detailed shot list, but try not to overdo things here with your portions, your pull out, your dollies, keep it simple and be prepared to be adaptable. 12. Production Shooting: So now that you're actually onset and you're filming onset, you want to make sure that your shots they look good. That means you don't want flat shots. What is a flat shot? That's just when there's really nothing in the background and it's just very simple. There is no use of abstractions and stuff. Yeah. It's just what you see in the background. It's very apparent and that's just super flat. You want depth. What I like about this is we have depth going back into this room here and I'm always trying to shoot up shots. Yeah. I'm always trying to set up shots that have a lot of depth that are interesting. If a shot doesn't really have depth, what I do, oftentimes, is I put a little obstruction into it. Yeah, that means objecting. You'll see that all the time in my smoothies. I'll shoot around the corner or I'll shoot through a window pane. It just gives you more to look at it and literally that you have more depth to the scene. Just makes it feel better. It's an interesting perspective too. The other thing is that lenses, oftentimes they're super sharp and then you'll see someone's face really intensely. We're probably seeing my face too intensely right now, but that's okay. Put it away. I'll put it away. So oftentimes have an older lenses or lenses that are a little softer or so much better. Asked your DP about that. See if they have older lenses or softer lenses, especially if you're shooting low budget cinema. A little bit of softness doesn't hurt. Some people like really sharp stuff and you can make it a little less sharp in post. But I always say do what you want, not in post. Do what you want when you're shooting. It should not look better. You can always fix it in post, but it's not ideal. Yeah, I hate the line. We'll fix it in post. That's a classic. Yeah. But get what you want on the camera. So here's the thing, you are going to be directing actors, okay? It's a very important skill to learn. How do you direct actors? A; give them a little bit of freedom and don't give them too much specific direction of like, "What the dude?" If you tell someone in-between their takes just too much information, they can't process that. Yeah. One of the things you're probably going to have to contend with a lot is overacting. People over act so much. It's a really easy thing to do. Yes. You just want people to be natural, to be smooth, to feel like you're in real life and smooth. Yeah, authentic. Authentic. One of the things I use for that is I'll tell an actor, I'll give them a number one talk. Hundreds of flicks like you're the most, rage out to the top of the heavens, you're screaming. One is just like flat and deadpan. So I can be between takes up, you're at a 75, maybe bring it down to about a 25. So there is a number and a lot of that means they're acting with their eyes or they're putting their emotion into an object. Yeah, a physical expression. Yeah, or maybe it's a thing. There's a lot of subtlety and you want to be able to give good notes. As an actor, sometimes I don't like it when a director will give me these important notes in front of everyone else. I like it when he pull me aside to tell me that one-on-one. That's really helpful for me. At the same time, you got to make me feel good and you're going to make me feel comfortable and a little positive reinforcement. Like, "You're doing a good job." Like Kore who's directing this right now, he's shaking his head. Yes. But now he's shaking it no. Terrible job. Because he doesn't not like himself in this stuff. But you got to do compliment sandwich. Here's what I loved. Here's that didn't work, but you're doing great overall. Make someone feel good. Get that hype going. It'll make them perform better. It'll make them perform better. It'll totally make them perform better. One more thing, just about shooting, most of the time, you may think that you want it all on tripod. I really don't love tripods that much, especially if you're shooting all your scenes. Hand-held is great. Hand-held gives the DP a lot of mobility and a lot of flexibility. He can move anywhere. Yeah. Totally. A nice movement. Yeah. Let you find the best angle when you're on sticks or what they call tripod, you're stuck to the general range. It takes more time too. It takes a lot more time when handheld, it gives you a lot more freedom. It's a typical a Hindi-film look. It's handheld, but they do that for a reason. Yeah. Because it works. If you are going to do sticks, its not bad if it's a close-up on someone's face and you have a shallow depth of field. Then you want to be steady. Yes. So that's another big thing, shallow. I love shallow. That means I like a blurry background. Ask your director of photography, "How do I get with a shallow background?" That means having a lens with a low f-stop. So it's like 1.2, 2.2, 2.4 that allows you to have a basically a blurrier background. That's a lot more. Because the whole reason for that is I want to be focused on the actor and their face. Keeping your attention on them. Not really all of the stuff in the background unless that's important, then you can have a little bit of depth. I'm perfectly fine if an actor moves in and out of focus. But get the shot is mainly in focus. Case and point, we had to re-shoot this. Yeah, it was out of focus. But that wasn't our Director of Photography's fault. Don't be angry. It just happened. Re-shooting is part of life. This is the real shot right now. Is the color different? The focus just has a mind of its own. Yeah, that's what happens sometimes. Always watch back your footage too just to make sure you're getting everything perfectly that you want. Yeah. Don't settle. You always have to look behind the camera and sometimes the screens, behind there you can't really exactly tell if something's in focus. So having a monitor is really useful thing. On a big screen you can see it more. Big screen you can see it more. Yeah. Oh, just a quick story about actors, just being naturalistic performance. That takes a little bit of time. Onetime, Jack Lemmon was in this Billy Wilder film. Billy Wilder was like, "Listen Jack, I love what you did on this first take, but I want you to pull it back a little and then do another take." He goes up to Jack Lemmon and he's like, "That was great. Just pull it back a little further." He's like, "Okay, fine." Then eventually he does another take and he's like, "That was great. Just pull it back a little further." Jack Lemmon was pissed off and he's like, "Dude, if I keep pulling it back any further then I'm not even going to be acting." That's the point. Yeah, and then Billy Wilder was like, "That's exactly what we want." You don't want people to look like they're acting. You want people just reacting and being there and being present. That's what's up. Anything else we got to say up this note? I think no. That's the end of it. Okay, cool. Have fun. Don't be afraid if you have to deviate a little bit from your shortlist. It always switches up. Yes. If you run out of time, you may have to combine chunks. Yes. Oh, so that's also a very important thing. Make sure to get your master shot, which is your wide shot of the scene, the full action of that. That'll save you. That'll save you because if you don't have enough time to get your close-ups, at least you have a wide shot. That saved me before in a scene because we're running out of everything time, money, and everything, sanity, and we just had to use that wide shot. Yeah. So we've gone over a lot of other stuff now I'm just bringing us ahead. Yes. I'm going to give you an extra pro tip right now. Thank you. So when we shoot our movies and you're hiring actors, you're not always going to have the greatest actors in the world. That's just how it works. But the thing is that verbalizing and words can be really hard for actors if they're not used to that per se. So one of the extra pro tips I can give you is you shoot your scenes, you shoot it out, and after you do each one of your takes, do a non-verbal take. What do I mean by nonverbal take? Have your actors do the scene back and forth just with looks or their feelings. Body language. So if there was a line which is, "I fucking hate you." Instead of doing the line, have the actor just, do, I fucking hate you in their eyes. Just like that. That's bad acting. But you give them their take and they'd just be like, that's all about. You'd have them act their scenes back and forth. That allows for a lot of subtext to happen and also allows you to cut around bad acting. Exactly. Editing can really save you with bad accuracy. Yeah. That's the thing. You may find out that you wrote something and you're like, "You know what, I don't actually need that to be vocalized. It makes more sense that it's non verbal. Takes out unnecessary expedition. Precisely. Often times when I write smoothies, I write a lot of visual stuff that can be conveyed non verbally because it's a really interesting. Yeah. I like when I'm watching a movie and I can read into the character. You always have to think about it so much. Precisely. I stole that from Terence Mallick who shoots his films and who'll do a take this non verbal and if you watch his movies, they're fantastic because there's all this nonverbal communication that's so interesting. Shoot your film to stay mindful, all the elements that compose your scene. Put acting first and make sure that your actors get enough takes. If you're not ready to shoot, maybe hire a DP for day, get a couple of actors together to shoot a simple scene. Also for each scene, in each shot that you do, make sure to get a nonverbal take. Please trust me on this one. 13. Post Production : You've shot everything and now you're at post-production, okay? It can be really tedious, but it's super fun. It's like you're solving a puzzle. Yeah. You're putting it all together. It's so rewarding. Yeah. You're like a puzzle person. Exactly. Like a jigsaw. Yeah. It's like a puzzle that you get to keep forever and you could show everyone. That's just super cool. There are a couple of tips that you need to know to make sure that your post-production goes really smoothly. Right. First and foremost, just keep working at it, okay? Do a lot of versions. Do a lot of versions, keep trying. There are a multitude of universes that you could possibly play. Millions of different ways to edit. I'm a paid editor. This is how I've made a lot of my money throughout the last ten years. You don't know until you got something, until you try a lot of different versions. Yeah. Okay? Don't be mad or don't be flustering, just roll with it. Yeah. It's fun solving all these problems, okay? Maybe you're not an experienced editor. Maybe you've never done any editing before. It is very valuable before you even edit, that you at least watch over all of your footage, okay? Yeah. You need to have a sense of all the takes that you have. You need to know what you liked, what worked, what didn't work. If you've never edited before, you can just go, you can watch all your footage. You can just click and just make a star on your favorite takes for each shot, okay? Yeah. Exactly. But I highly suggest if you're a low budget film maker that you learn editing, okay? Yeah. How do you learn editing in today's day and age, okay? Luckily, there's a lot of nerds on the internet. So many YouTube tutorials. They're everywhere. I love these nerds, okay? I guess, I'm one of these nerds now. You are one of those nerds. You really are. But there are these people who make these beautiful tutorials online that can take you through any part of the film making part of process. Yeah. They're easy to follow. It just takes a little bit of time to learn but that's how you learn stuff. Yeah. Once you learn, it becomes easier. Precisely. There's no shame anytime you [inaudible] stuff to try and edit. Google it. I highly suggest that we use Adobe Premiere for editing. That's the industry standard right now. Yeah. Some people will use Final Cut X. Those people are weird. Yeah. Final Cut X has changed for the worse. Yeah. Some people use Avid. That's also weird but still there are multiple different ways to skin a cat, as long as it becomes like a movie, that looks like a movie. You can just cut and piece stuff together. Use what makes sense for you, what you have. Whatever does the trick. Even if it's iMovie, I'm not mad at that. Yeah. If that's all you have, go for it. Just do what you can, okay? Try and learn the basics of editing. Just Google it. I'm not here to really show you that, but I am here to tell you that you should just keep going forward, okay? What you must prioritize when you are doing editing is the best takes, okay? Your movie revolves around the most interesting takes. What makes a good take? I'm going to say probably number one, is acting. Yeah. Good performance. You want good performance. You have to be able to find a rhythm and pacing, but you're going to want to base that rhythm and pacing. The emotions and what the actors are able to do. Precisely, Laila. She is a great student, just know stuff, okay? Here's a big note about editing. When you get all your shots and you get all your takes, don't try and put everything in there. Yeah. No. Don't try and go from the wide to this, to this, to this. Don't use all of your coverage. It's not necessary. Not necessary, okay? It is not the best way for you to make a movie. It won't be efficient. Yeah. It's not efficient. Overall. Yeah. It's just too MTV when you're trying to cut between all these different things. Sometimes you want to linger on the best moments or the best takes. Yeah. Just let it play out. I had that happen to me in my first project [inaudible] where I hired this editor and they just tried to use everything and we couldn't communicate. I had to not work with them. Yeah. When you're making your films and you're editing it, just kept trying over and over. Try your scenes over and over and eventually you'll get to a place where you like it. Then you piece together your stories, scene by scene, however it works for you. It may be you have 30 different versions of one scene or 30 different versions of the entire movie. Yeah. I'm an insane person. In four minute movies or less I have- Thousands. Not thousands, but I have 40 different versions of a three-minute or less scene. If you're doing a feature film, imagine how many different versions you have. Oh my God, so many. You keep building upon them, but always keep your old versions, okay? Don't like just reedit it. Like copy and leave it somewhere else. Copy and leave it somewhere else because you may like something that you've previously done before, okay? Right. It's a whole world of crazy. You're crazy. Keep on going. Also, you have to keep in mind that you're going to probably hire someone to do music. Yeah. Like a score, yeah. I think, it's really important to have a really good score or music done for that. You can go online, you can find some of that stuff, but you really have to search long and wide. A lot of stuff is supper crappy, okay? Yeah. There is a lot of uncopyrighted stuff that you can use. Yeah. But a lot of times I like to hire a musician friend and have them do something super simple. Yeah. There is a thing about hiring a musician friend to do your score, okay? They're often trying to do too much, okay? You have to always tell him, bring it back. Sometimes just having a [inaudible] is enough to create attention. You know what I mean. Musicians try and make things sound like a song. Yeah. Try and sound it more full, so you have to bring them back because you just need, sometimes the most basic thing ever. Little background noise. Also if you have friends in a great band and they have a song that fits your thing. Okay, I'll give you like a 100 bucks for your song or maybe they'll do it for free, okay? But try and find that really cool music that you may already know, that fits in the thing, okay? Yeah. But also I love to have the sounds done for it. Less is more with music often at times, okay? I like music that isn't so emotive, it tells you exactly what to feel. Yeah. You don't want to use that as a crutch. Exactly. [MUSIC]. It shouldn't be sad because there is sad music. [MUSIC]. While you're editing, it may feel a little bit weird if you don't have room tone underneath, okay? You don't want just a moment of silence. What is room tone though? Room tone is when you're actually recording and you're doing your films and you have about 30 seconds of just the room and everyone's quiet. Let's do it right now. Okay. 30 seconds later. Then you take that 30 seconds of dead air and you just put it underneath whatever scene you have and then you just let that go on and on. Repeat it. Repeat it, so whenever you cut, there isn't like a little jump from one sound to one sound. Right. It may also feel weird if your scene does not have any sound effects that are important. Sound effects have become integral to film. Yeah. If you hear a tapping on here. The smallest things make a big difference. Yeah. You may want to go on YouTube. What I do is, I go on YouTube or I will Google sound effect, it will be like lighter sound effect, okay? Right. Then I'll do YouTube to MP3 converter, which is illegal, but don't get mad at me and then I'll take that sound effect and I'll just layer it on top of my film, okay? It really just allows things to feel a little bit more full, and often at times I find it very important to hire a post-production sound person. For [inaudible] sounds. Once again, you go on, you go on craigslist, you look at the resumes. You will be able to figure out who you want for that. Yeah. But if you don't, then you have to do all those things, all the sound effects and all the extra things that make your scene come to life, okay? You can save money there, but I suggest when you're editing, even if you're new, try and do everything yourself, okay? Yeah. It's going to be a little rough. Also, you'll learn more. You'll learn more. It will improve you as a film maker. Yeah. You really have to shoot base and think like an editor, okay? Yeah. Definitely. That's one of the things. Try and do everything yourself. When you get it there, maybe it's not perfect, maybe you have it rough and maybe you know that. But then that's when you can call that one or two cool friends of yours that is understanding, has been through the process and they can give you feedback. Yeah. Always get an outside perspective. You know what I mean? Don't give it to too many people once again because they can screw you up and be like, "Oh, do it like this, do it like that. " Don't get too many opinions because then it's overwhelming. If we add up the numbers, you're spending maybe between 500 and 150 bucks per day, okay? Maybe you have that money, maybe you have that saved. If you do not, then I'm suggesting you do a kick starter. Yeah. Totally. Indiegogo. Fundraiser. It's so easy these days with the internet. Just set it up and send it to everyone you know. Yeah. You're also going to need money for your post-production. We're looking for somewhere probably between 500 or 1000 or 1250 bucks for a day. If you're out, you can do two to three scenes per day or maybe it's a [inaudible] piece, it's not two to three scenes a day or it's just maybe like various shots around. You'll talk to your DP, talk to someone who's made films before. See what you can do per day and always try and set yourself up for a win, okay? Your film hopefully will not be more than $3,000 to $4,000 to $5,000. This is low budget and this isn't looking really good. You can get away with it being much cheaper if you have less scenes and you write your scenes and they all kind of take place in a very similar or close locations. A location that you already have. Precisely. Yeah. Okay. The other thing is you should try to pay your crew, okay? If you have the money. But you don't have the money and that's why you're watching this video right now. Exactly. That's how you got here in the first place. Okay. You're not some Richie McRich, always just stopping on the little man and being like, "You stupid kid, get out of my way." That's not you and that's why I like you. Exactly. That's why we're here to learn. You got that going for you. More about low-budget filming here and how to use your money effectively because I want you to keep your money and I want you to make a dope film. Yes. Once again, I'm proud of you. So proud. [MUSIC]. Edit your film over and over and over again. Try each scene a different way and just go crazy with them. It's a really fun puzzle. Enjoy that process and remember, do everything yourself, but if you need help, ask a more knowledgeable friend or don't be afraid to hire a professional to take you home. Note, I'm not here to teach you the technical aspects of editing, but attached are some links if you want to learn more about how to edit and the best ways to edit. Okay. This is dope. You are done with your movie. You must celebrate. Drink a beer or drink some water or some soda. I don't know. You don't even have to drink anything. Just be happy that you made a movie. This is an incredible accomplishment. You should be proud. Call your mom, call your grandma, call whoever. Call your grandma's best friend. I know you've been thinking about her. I'm proud of you. You should be proud of yourself. This is beautiful. Thank you. 14. Outro: You finish your movie, or you finish this class, or you finish your script, and or some part of this class. Whatever you've done, the fact that you're still with me here and that we're all in this together is amazing. I'm super proud of you and I'm super excited. I want to share more information and more stuff in the future. I want us to be friends. Can we be friends? Hopefully, you don't hate this face too much at this point. Anyway, film-making is super fun. I really hope you enjoy this. I'm going to make more videos in the future and give more specific information and more knowledge out there in the world. Have a great day, or life, or whatever. Have a great moment. Okay. Bye.