How To Organize A Hard Drive Of Raw Footage To Entice An Editor To Work On Your Low Or No Budget Video Project

You spend months thinking about and prepping your project during pre-production period. You wrote the project or created it. You have a handle on it or are steering the ship. Momentum is building. You survive the shoot and now you enter the post-production phase. You have a years worth of blood, sweat, and tears on a hard drive. You need to find an editor

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You look at some editing reels and the editor you think is perfect is $650 a day your total budget for the edit is $500. You talk to several editors to try and get them excited about your project in the hopes they will join the team. I am going to stop right here. Put yourself in the editor’s shoes, you want them to edit for little or no money and to start off that relationship you’re going to hand them a hard drive with three terabytes of raw footage that contains a bunch of folders that say, Card 01, Card 02 and contains numerically labeled shots. That is hardly enticing, in fact, its a deterrent.

Here is a simple way to get an Editor excited about working on your project. You want them to be able to dive right in. You are going to prep the drive. First, create a series of folders. The main folder will be the project name, the title of the work. Within that folder create subfolders. Number them as follows: 01_project, 02_Media, 03_Music, 04_Audio, 05_GFX, 06_Docs, 07_Stills, 08_Assets, 09_Exports.

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Now move all your media into the 02_Media folder. If you record audio separately move that into the 04_Audio folder. Add a copy of the script into the 06_Docs folder. If you have storyboards put a copy there. If you have ideas for music put those in the 03 Music Folder.

This next step is what will really help you entice an editor to start on the project. Set up the project in the editing software and make selects. Most likely you will be using Final Cut, AVID or Adobe Premiere. As of now, the most predominant DIY platform is Adobe Premiere Pro CC. If you don’t own it you can get started for under $20 a month. Whichever platform you choose the steps are the same and very similar to the project folder structure. In your chosen editing platform create a new project. In the project create a series of folders. 01_ Sequence, 02_Media, 03_Music, 04_Audio, 05_GFX, 06_SFX, 07_Titles, 08_Misc. Next, import your footage into the project. Media into the media folder, Audio into the audio folder, etc.

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This next step will really go a long way. Create a New Sequence in your project and call it selects. Start to watch all your raw footage and “select” your preferred takes and pull them into the timeline. Perhaps you like two, just pull them both. Creating a sequence and making selects is very simple. If your not comfortable or familiar with the editing platform at all a few google searches will guide you through this basic process.

Alternatively, if that seems too involved or beyond your time or abilities. At the very least Set up the drive with the folders and create a paper edit. Create a document and assign a brief description of each Footage Card and Contents. Then Do a paper edit. Watch the footage in a viewer such as Quick-Time. Make your selects that way. Create a new document, split the page into two columns. On the left will be the script, On the right will be your notes and your ‘Selects” If the script says, ‘Mary Enters, speaks to Bill. Mary: Hi Bill!” That will be in the left column in the right will be the shot into something like Mary Enters Card02, IMG-0190.mp4 at 03:04. And just map the whole script out with your selects.

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The point of all this is to present the editor with a project they can jump right into. If you present an editor with a low rate and terabytes of raw footage they will politely pass. If you talk to an editor excited about the possibilities of the project with specific examples from media you’ve already organized and prepped you have a reasonable chance to get them just as excited about being a part of something. If you don’t have the money to invest you simply need to invest your time. Sharing the time investment with the editor rather than laying it all on them will encourage talented people to join you. Last I should mention be sure to make a backup of the drive and its contents and store that away safely.

For more tips and shared experience visit our youtube channel Create Sci-Fi with plenty of informative videos on creating content.

 

From Trash To Blast! How To Make A Sci-Fi Recycle Bin Laser Blaster Gun

Any good Sci-Fi project is going to need a Blaster, Laser Gun, Ray Gun, Photon Rifle, the list goes on. There are many ways to go about making these weapons for your sci-fi arsenal be it for a film, a cosplay or simply for display. In this article, I want to share with you an inexpensive and fun solution. I’ve come across a lot of craft builds with recycled plastic bottles lately and I thought hey, I have an overflowing recycle bin with a  bunch of material for some Blaster building so I figured I’d give it a try. Here I’m going to share with you what I came up with.

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First I dug into my recycle bin and found some bottles that were interesting and got out some tools.

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I roughly arranged some silhouettes for my recycle bin blaster and this was the winner.

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I start by cutting the bottom off of the water bottle.

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I merge it with a ridged chip container.

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I cut off the top of a cleaning bottle to make a hand grip. I saw that in some online video and it stuck in my head, it’s very clever and works nicely. I hot glue these parts together.

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What I learn here is that the hot glue melts this plastic bottle that is my barrel which was not what I wanted. I had to cut off the damaged excess and I decided to take this opportunity to add some more dimensions. I added a hand soap bottle as a collar that I slid over the damaged area and that cleaned it up and looked good. A happy accident as they say.

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Then I add the trigger. I simply repurposed the trigger from the cleaning bottle. To make it fit I rough out a hole in the handle with a Dremel tool to pressure fit this trigger in the handle. You could also cut a hole with an Exacto blade. It is not a practical trigger so I just secure it in place with glue.

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Next up is a spent deodorant bottle added to the top as some sort of scope. Also, I add the ball from the deodorant model to the bottom of the handle and this interesting sports bottle cap finishes off the profile nicely.

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Everything gets a light sanding so it will better accept the paint.I base coat it with a flat black primer and just dusted it a little bronze over that.

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Painting is done with a dry brush technique. Using a metallic paint with a very light amount on the brush that is further lightened by brushing onto a paper towel. The paint is applied by just lightly brushing the surface and a brushed metallic look is achieved. To add some dimensionality I add some gold metallic by extra lightly brushing the high points and that gives it a nice glow. The final touch is introducing sparse green metallic highlights in places that might be buttons or decorative just to give it a little more life.

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To make the Blaster look real and to give it some character a weathering pass is needed. That is simply some watered down brown and black paint that is washed over the entire piece. It is then quickly wiped off with a paper towel.  The dark wash remains in the low points, cracks and crevices, this gives it the illusion of being an actual object.

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Who knew space blaster hiding out right in my recycling bin! Now if I was doing a sci-fi project and I wanted to suspend your disbelief make you believe it was a real future or a parallel universe I probably wouldn’t use this prop Blaster. However, if I was doing a sci-fi fantasy like a Barbarella or a comedy this is exactly what I would use.

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How To Make A Sci-Fi Short Film: Step 2 Concept Art, With & Without Drawing & Photoshop

In this tutorial on Create Sci-Fi, I share my techniques for creating concept art and simple style guides to help share your vision with potential collaborators. This is the second video of the How to make a Sci-Fi short film series. Make sure to subscribe to follow along.

Be sure to watch my video channel for more Sci-Fi filmmaking giddy-up.

How To Make A Sci-Fi Short Film: Step 1 The Script, A No Frills DIY Script Writing Approach

In this tutorial on Create Sci-Fi, I share my no frills, basic approach to writing a script. This is the first video of the How to make a Sci-Fi short film series. Make sure to subscribe to follow along.

Be sure to watch my video channel for more Sci-Fi filmmaking giddy-up.

From Trash To Blast! How To Make A Sci-Fi Recycle Bin Laser Blaster Gun Video

In this tutorial, I take you through the build process step by step. I show you how to make a screen ready Sci-Fi Blaster Gun from recycled plastic bottles.

Be sure to watch my video channel for more Sci Fi filmmaking giddy-up.

How To Make Sci-Fi Goggles: DIY Dollar Store Mash Up Video

In this tutorial, I take you through the build process step by step. I show you how to make a screen ready sci-fi goggle prop from a few Dollar Store items.

Be sure to watch my video channel for more Sci Fi filmmaking giddy-up.

How To Make A Sci-Fi Rogue Assassin’s Blade: DIY Dollar Store Mash Up Video

In this tutorial, I take you through the build process step by step. I show you how to make a screen ready sci-fi Assassin Blade prop from a few Dollar Store items.

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SEVEN COMMON MISTAKES TO AVOID WHEN MAKING YOUR FIRST DIY LOW BUDGET FILM OR WEB SERIES

You are ready to dive in good for you. Let us take a moment and make sure you have all your ducks in a row. Or at least these seven ducks. Remember it is a creative process and making mistakes and learning from them is how you evolve as a filmmaker, or as a person more importantly. But there are some very common mistakes that many of us have made when starting out and there is no reason at all that you should repeat them. The following seven you could treat as a checklist.

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• WEAK STORY

When starting out one of the most daunting tasks is actually writing the script. It’s like climbing a mountain and when you get to the top and look down and catch your breath, the feeling is Euphoric. You cannot stop there. You need to go through several more revisions before you start shooting. Organize readings of the script, record them and listen back. Do not be a part of the readings just observe, it will become painfully obvious what is working and what is not. Do not be afraid to go back in and rearrange and delete. Trim the Fat. Once you have your beginning, middle, and end maybe you delete the beginning and start from the middle. Or go backward. Start late and end early is some good advice I was given.

• NO MOVEMENT

Walking and talking. More often than not in a script, two characters are talking and moving the story along or developing character by sitting down and talking. They are at a restaurant, coffee shop or sitting on a couch or in an apartment. Get those shots moving. Instead or two characters talking in the coffee shop film them walking and talking on their way to the coffee shop. If two women are sitting on a couch talking and one is trying to cheer up the other. Move them off the couch and into the bedroom where one is trying on clothes and the other is adjusting collars and buttoning buttons as they speak. Do you get the idea?

• BAD CASTING

You can use your friends and family but that rarely works out well. There are plenty of actors out there and you should always do a proper casting. If you live in a major city it’s not a problem, put out a notice, arrange a room and have someone help you run the auditions. Record everyone, on your phone, is fine. With low or no pay you will most likely need to see a lot of people one out of twenty that you would even consider is normal. That number might even be higher. It is part of the process. If you live in a more remote area, find a local community theatre or a school drama program and approach those actors. The process of casting also helps with mistake number one “weak story” you will hear your words over and over in ways you didn’t even imagine. Most will make you cringe but some light a fire.

• POOR SOUND QUALITY

You imagine your story in your mind’s eye but what do you hear? Most likely you did not.  When shooting if the director of photography does not shoot what you imagined you can correct that simply by communicating what you had imagined seeing. While your face is glued to the monitor make sure you have headphones on and are hearing the sound that is being recorded. Or better yet have a designated sound person. Bad sound can sink an entire production. It is essential the actors can be heard clearly with no interfering sounds. Record dialogue with an external microphone, not the built-in camera mic. If you do not have the budget or manpower make sure you have a quality shotgun mic attached to your camera. The best option is a dedicated sound recordist who is booming the actors and using lavs. Try and avoid noisy outdoor locations and no matter how perfect a take is if a plane flies over or firetruck races by you must reshoot. When inside all air conditioners and buzzing appliances must be turned off. And last if it’s a party scene in the background record it with no music and the background people pretending to talk. Sound effects and music can be added later.

• LOW LIGHTING

Much like sound, a dedicated person is ideal but most likely you’ll be relying on your cinematographer in a low budget scenario. So try and get that person help. Just a volunteer to help them move lights around so they can monitor the camera. And speaking of lights moving around, you are going to need lights. Unless your entire project takes place outdoors in the daytime, which is not a bad idea, by the way. Many cameras now can handle low light but the cost is a grainy, muddy image. Which is fine if that’s your aesthetic but it will not play well if the rest of your project is a solid well-lit resolution. If you are on your own take the time to learn what the light meters in the camera are telling you. To keep it simple, shoot some test shots of your location and play them back on a monitor. If it is too dark… increase your light.  These days it is better to shoot well lit with a neutral even lighting and add shadows and hues in post.

• UNLICENSED MUSIC

This one might be obvious to you but it is surprising how many people just use popular music in their projects. if you are making a film to never post online or show in a festival that you plan to just show in the basement to your parents you can go ahead and score your film with your favorite Jay Z tracks. But if that is not the case you need to have the rights to the music you use. There are many options and some are free. You can have someone create original music for you. If that is not an option there are many basic loop programs now where you can create your own music. There are affordable options, if you search Royalty Free Music you can find plenty of sites that offer tracks for around twenty dollars. It is tempting to use a powerful beloved track of music to add weight to a moment but, don’t do it.

• WHITE WALLS

So many low budget or first-time productions take place in someone involved in the productions apartment. And there are white walls everywhere. It is just uninteresting and looks bad. It communicates nothing. Every frame of your production should be moving the story forward. Big white walls tell the viewer nothing. The only thing worse than white walls are those giant eastern tapestries or large colored scarves that are hung on the wall to hide said white walls. Do some production design. Paint the walls a color, hang some art that is suggestive. Find a location with a hoarder quality. Lots of shelves and nooks and crannies filled with stuff is always good. But don’t try and recreate that, on a budget, it never works. Find a location that’s already cluttered. Minimal works too. A solid colored wall says a lot more than a white apartment wall.

I did not mention cinematography because while it is paramount when shooting, all your attention will be on the monitor. If a shot is not working visually it will be hard for you to move past that, and hopefully, you will correct it. But if the sound is not being monitored or your actors are blowing it in front of the ugly poorly lit white walls, you could have avoided that.  As I mentioned at the start you learn by doing but, these are seven things that a lot of us learned the hard way and there is certainly no reason at all for you to repeat them.

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They Say, Dollar Store. We Say, Sci-Fi Prop Store !!

In this video, I look at inexpensive solutions to creating props for sci-fi through my process of discovery at the dollar store.

 

Be sure to watch my video channel for more Sci Fi filmmaking giddy-up.