Video editing has become one of those skills that any interested candidate can pick up and perform with ease. That's not to say that everyone is good at it however. Here are a few simple guidelines that I use that you can follow to help improve your video editing. 1. Stay Organized Editing is really about organization. From sourcing the best footage available to creating effective sequences, your ability to keep track of footage is what will make ultimately make your edits stronger. On a smaller scale this involves labeling tapes, hard drives, and files, where on the more ambitious side it means keeping editing logs, transcribing dialogue from unscripted takes or interviews, and diligent note taking. The rules vary between individual projects and time lines, but organization means efficiency and that goes a long way whether you're an employer or employee. 2. Try Everything Once Early on I began broadening my own editing by trying every kind of project I could think of. I created animations, experimental shorts, and narratives, and this only become more varied during my time in film school. The beauty in trying out these styles and genres is that they each require a different sensibility in how they're cut together. It's also a great way to find out what you like and what genre your style of editing favors. 3. Mimic Editing You Like This may sound like cheating, but homage is one of the best ways to enhance your skill as an editor. Create vintage filters, cut music videos, play on cliches. Editing is as much about understanding timing as it is about the footage you select. By mimicking the pacing of a popular commercial or music video for instance, you'll gain an appreciation for the subtlties that separate that style from telling a longer story in a narrative. It's always better if you learn the rules before you start trying to break them. 4. Use Music For Inspiration I still often use music when editing my home videos and travelogs as a way to motivate a more ambitious edit and experiment with styles that I don't get to try everyday. Understanding how a jump cut or a more elaborate transition effects the rhythm and dynamic of video is something that you can continue to experiment with and learn from. In general, using others as inspiration is a great way to springboard your own original edits. 5. Keep it Simple The mark of an amateur editor is too many cuts, transitions, or abrupt scene selections that remove the viewer from the story or cause confusion. Even when editing something with high energy, the goal of the editor is to keep a common thread throughout the entire video. Part of that means knowing when to cut away, what to cut to, and the meaning or relationship that is created for the viewer by doing so. An experienced editor will see when it's better to let something play out or when it's necessary to elaborate. There is no one right way to edit, and this is part of the beauty in it. Play around enough and you'll see how the choices you make as an editor can have dramatic effects on the outcome of a project. Like all skills, practice will only make you better.
I just found your blog and really admired your story and was wondering if you had any suggestions for someone who really wants to have a career in editing and film making. I love editing and would love to take on projects and create my own reel and get things going, it's just a difficult process to start, I don't know what to show to people to prove I have skills as an editor. I just did an internship with a friends parents acting class and did a short little movie, but have since moved away and am saving up for film school. Thanks for reading my email, have a great day.
-Rob
First of all, I want to thank you Rob for your email. I think your question isn't at all uncommon, which is why I asked you if it would be alright to respond to your question publicly. I won't pretend I have all the answers, but I'm happy to share a few of the things that helped me get going when I was just starting out.
1. Editing for yourself.
Whether you're shooting your own footage, editing home videos, or using found footage from your favorite movies, the best way to improve your work and make impressions with your editing is to create - and create A LOT. Challenge yourself with varying styles. Edit a music video, cut a promo reel, recut an original trailer for a movie you like. Editing isn't simply about the task of combining clips on a timeline, it's about versatility and your awareness of how others will respond to the visuals and sounds you present before they've even seen them.
Don't stress yourself out by thinking that everything you create has to be brilliant. Treat your projects as exercises and use them to get a taste of different strategies. These editing variations will also go a long way to highlight the way you handle different styles, which is exactly the broad approach that you want to take when you're just beginning. You'll know you're on the right track if you're able to genuinely surprise yourself with what you come up with.
Others respond to dedication and persistence. If you want people to know that you're serious about pursuing this as a career you have to be willing to keep at it even when you're not receiving gratification for your efforts. It's what separates those who are professional editors, and those who just call themselves one.
2. Sharing your work.
Show friends and family what you've done, upload your work online to be criticized, and find contests and student film festivals to give you new goals and specific feedback. Everyone doesn't have to like what you do, and my best advice for being in any form of media is that it's best to develop a thick skin early on.
Sharing your work with those close to you is also a great way to let people know about your film making and editing goals. As a teenager, the projects I shot with friends translated into some of my first paid gigs filming seminars and weddings. Don't expect to make big bucks doing this. You're likely being hired as much because of how cheap you are compared to everyone else, as you are because of how enthusiastic you are to get the opportunity. But, do take advantage of these early opportunities to diversify and create a reel for yourself. Feeding on experiences will help shape your path and give you more choices.
Networking with friends and family is as simple as it gets, and you never know when they might know someone who wants a simple web video or someone to capture some footage of their function. When you're trying to get into something new, the old saying 'beggars can't be choosers' is never more relevant.
3. Creating an online business card.
For me, Editing Luke has become a bit of everything. It's a video portfolio, recap of some of my experience, and a place to share inspiration. Ultimately, it's a well maintained presentation of who I am (and how I want to be viewed).
While I haven't used my site as a direct advertisement to attract freelance work, I've used it as backup to prove how dedicated I am to what I do. On a personal level this site has helped me build connections, has attracted several film festival invites for my work, and has given me a forum to promote projects in competitions. Getting this to happen has taken a lot of effort on my part, but some of the achievements that have resulted have ended up on my resume and are great talking points when convincing someone to hire you.
When I was looking for work fresh out of film school, the impact of this site also stood out when I asked people to have a look. It proved I was a real person with some character, because lets be honest, when you're just starting out your potential is probably more exciting than your previous work history.
In short, to work full time as an editor you have to push to make it happen. The two editing jobs I currently do didn't exist before I came along. However, their creation also didn't just occur overnight. The right connections, a series of varying experiences to draw examples from, and a diverse reel to show that I was adaptable to a variety of styles all played a big part.
When you're starting out you have to latch onto anything even remotely related to what you want to do and excel at it. You'll be surprised how many people will take chances on you when you can spark their interest with what you're really interested in doing. For me it's been a long chain of small events and chance meetings that have helped me progress further into what I want to do. My approach is still evolving (and the work isn't always enriching) but to be able to fully support myself through editing and photography is one dream realized.
The good news is that there are so many unique ways to get you to where you want to go that you shouldn't feel limited. The arts are complicated, but those who succeed in a day to day sense (working for themselves that is) are those who learn how to bridge their creative ambitions with practical applications. The web has transformed the market, and plenty of companies are looking to utilize video.
You might think to yourself what a bizarre thing to write about. Who needs to know how to be spontaneous? Isn't about doing things randomly? Isn't it about doing something in the moment? It is. Of course, there's a bit more to it than that.
I've always considered myself spontaneous both in how I approach my work and my daily life. I'm perceptive to opportunities that challenge me and allow me to try new things, but it wasn't until I read an article about staying organized that the reason why really hit me. In a word, preparation.
To be random isn't enough, because spontaneity is as much about having quality experiences as it is about doing something different. Also, just because your life is moving in a lot of different directions, that doesn't make you a spontaneous person either. It's a choice that you make, and because of that there's actually a lot of control involved.
A spontaneous person is therefore someone with plans. It makes sense that if you really want to do certain things and want options on how they happen, that you'd be prepared for the possibility. It's like setting aside a bit of money from your paycheck for travel, always having a few beers in the fridge if friends stop by, or maintaining a schedule with flexibility so that you can work new things in. Having choice is everything.
In 2005 my friend Andrea and I decided to go to Vegas. The spring semester was just ending, we both had a bit of money set aside, and when the idea came up we jumped. Within a week of first talking about the trip we were on a plane and we were there. For a couple of students who had both just turned 21, this felt amazing.
The same thing happened with the road trip my friend Dave and I took to California last year. We had enough cash set aside, ambitious plans were made before we left, and a loose schedule was in place. Again, it meant that the basics were covered so there was no stress about how we were going to pay for something or if we were making the most of our time. We were actually able to do more because we were prepared to make things happen.
The point is that if you don't take control of some things, if you don't make plans, if you're only reactionary, then you only have the option of taking advantage of what presents itself. You actually miss out on being able to shape your experience. You miss out on being spontaneous when it really counts. You miss out on making something good, something even better.
The challenge of making and/or keeping your blog fresh, exciting, and original isn't always an easy task. I can attest to the fact that reinvention has been a necessity for keeping my blog alive and keeping myself interested. So with that in mind, here are a few things that I've come to appreciate for the sake of my sites originality.
1. Make it personal. No matter what you write about, the more you can relate something to your own experience and viewpoint, the more you'll stand out for bringing your own style forward. Finding a balance between your relationship to the topics you write about helps build a connection with your readers.
2. Fill the void. If you find yourself writing about popular topics on a regular basis, approach them in a way that doesn't seem completely redundant. Look for the areas in those topics that seem lackluster and improve on them. Ask yourself, why would someone read what I'm writing if I do exactly the same thing as everyone else? Why would they search this out? What am I doing that would make this memorable? Create what you're not seeing, but would like to. It's a good lesson and habit to get into.
3. Use imagery. Including your own photos and adding visual ques to the ideas you write about is a great way to engage with readers. It's also something that's immediately recognizable and at first glance will give your posts a look all their own.
4. Answer your own questions. We've all had trouble finding answers from time to time, so share what you know. Personal experience and advice are staples of blogging, so throw your own voice into the mix.
5. Diversify. Whether you blog is about everything or a very specific topic, find subcategories within your content range to give your site more flavour and depth. This can help to break up monotony and keep new ideas flowing. Having a wider range of content gives readers an excuse to explore.
6. Stay genuine. If you're passionate and honest about the things you write and share, there's no doubt that your site will stand out on its own merit. If you're writing for search engines or quick keywords, those posts may get you hits, but they won't inspire those who are actually looking for real content. The more you're able to make a connection, the more likely you are to build a following.
7. Read. Frequent others sites, read books, browse magazines, and see what's going on. Reading will improve your writing, help you with your grammar, and get you more in tune with what's trending. If you want to be original, you're going to need to know how you can bring something new to the discussion.
8. Continually try new things. Once you've found a formula that works for you, try adding a few new ingredients to challenge yourself. Introduce videos, interview other bloggers, or try a post on a completely random topic. The more exciting you make your website for your own sake, the more exciting it's going to be to see what you come up with next. Perfection doesn't actually exist, so if you're not evolving you're moving backwards.
In film school we were told to keep journals as a way to motivate our creativity. At the time it felt like a chore, because frankly, nothing ever feels that creative when you're being forced to do it. Pretty much as soon as I wasn't required to write out my random thoughts anymore I actually felt compelled to. Go figure.
I now see what everyone was on about though. Filmmakers should blog. Creative people should blog. If for no other reason than to indulge your own sense of achievement, blogging has provided me a way to work out my thoughts and frustrations. Sometimes it's simply a distraction, but often it gives me a forum to really think about the things I want to say and in turn, what I want those things to mean.
This is kind of huge if you allow yourself to get past your own self-consciousness and want to learn more about yourself. As a video editor I've always been keen to challenge my perception of the technical side of editing with the emotional side. If I were to try and learn this through my contract editing I might only scratch the surface or maybe never have the opportunity to work out that obscure idea in the back of my mind. Instead, random creations are fueled by my need to blog about something and it's those random creations that then give me something to analyze.
Blogging can then be more than just an exercise in futility, you can actually improve the way you think about things. Knowing that I'm posting things publicly actually helps in some sense, because even if no one reads what I post I feel that I'm being held to a standard outside of my own. When I'm writing an entry it's also one of the few times that I actually slow down to reflect on something that I've learned or something that inspired me.
Filmmaking is a form of communication and there are multiple facets within that framework that build the conversation. You might not see the value in writing out your ideas at the moment, but if there's anything that Editing Luke has given me it's the ability to articulate an idea and explore my own aspirations. This skill is invaluable. Everyone can create, but not everyone can explain their thought process or perspective. Don't kid yourself, creativity takes work and writing is a tried and true approach to overcoming those mental blocks.
But yes, I still hated being forced to write those film journals.
The idea of having a film journal in my classes was something that I always disliked. I didn't see the value in writing all of my thoughts down for someone else to read - but of course, opinions tend to change when you feel like you're discovering a method for yourself. Here we are.
I can't say this is really a film student blog anymore. I'm no longer a film student and the content has grown from classroom complaints to general inspiration with a sampling of video and photography to match. I'm not sure the film student version of myself was all that different from who I am now. The worry about finding work has simply subsided for the time being.
I often wonder what this space would look like had I started sooner in my film school career. By the time Editing Luke came around in 2007 I was already on the down swing, looking for an escape strategy. I'd like to think my musings have helped a few people over the years, but ultimately I think I was helping myself. That's the key to a film student blog.
To be creative, visual, and organized is a tall order to fill on a regular basis. What I've taught myself through blogging is how to express my thoughts and walk myself through a long term process. The journal gives meaning and context to a journey that I'm not always aware I'm on, but even after the daily plot points have passed, here is a reference.
A film student blog is not just about cameras, classes, your favorite movies or your peers, it's about learning how to tell your story. The story doesn't simply end after university though. The definition evolves as the space and content does. That history is now a foundation for a whole new view of media, editing, and the world as I see it.
There are so many new ways to share the things floating around in our heads. Find the story in them, and film student or not, you've got some fuel to create.
I feel like I've ranted, raved, trashed, and glamorized my own film school experience over the last several years, but that's not to say that I don't still have questions regarding the field. Now working two media jobs (largely as an editor) I feel very grateful for the experiences I've had and remember exactly what it was like trying to figure out how I was going to turn a passion into a paycheck. Personal drive seems fundamental to making it in any competitive field, but self-assuredness is something that you best find quickly if you expect to weather the rejection from pursuing a job in creativity. Looking up information I stumbled onto studentfilms.com Film School Advice forum and had fun just exploring all of the discussions. It brought me back to high school and the anxiety I faced as I tried to decide between different film schools - ultimately I settled for the cheapest one.
From screenwriting to directing, from grant applications to film school applications, there are so many facets to film and video that make it possible to really shape the path you take. In my own experience, I returned to a smaller city after film school and actually established/developed my position with both companies with the promise of bringing a new approach to their creative strategies. While I still strive to do narrative/independent production, the work I've been doing since university has been highly self-motivated and full of variety.
I really just wanted to share this Film School Advice forum to get your brain working. Whether you're an aspiring filmmaker, recently graduated, or just interested in film and video, there's a wealth of information to be borrowed (and to make your experience less stressful).
Perhaps the greatest bit of personal advice that I can give is for you to find the answers that work for you. There are thousands of ways to get to where you want to go - something I didn't quite realize until I got there. For more general banter check out my post on Advice for Aspiring Filmmakers.
Of all the classes I took in film school, none were discussed with more direct disdain by fellow students than film theory courses. It's just talking about movies you say, but in actuality, it's a set of criteria established to define how we approach varying aspects cinema and how time has made such criteria more relevant. In a largely opinionated and biased way, film theory reinforces rules, genres, theme structures, etc. that make the movies the 'artform' that it is.
It may not be an easy pill to swallow, but the truth is (film students) you need to know this stuff whether you get it from a professor, the library, or the video store.
I was never one to do exactly what I was told, especially in film school, but I was still perceptive enough to know that challenging myself was the only way I was going to get better at what I was doing. Film theory, however, was still a hassle to me because I was so determined to make my own work that I wasn't interested in breaking down anyone else's movie. What I failed to initially realize, was that despite my lackluster interest in the classroom, I was actually educating myself on filmmaking theories by watching tons of old movies. As a film student - any serious interest in films outside of your lifespan is to be commended.
Yes, there is a difference between theory and history, but by simply acknowledging the work of Chaplin, early Scorsese, early Spielberg, Wilder, Kazan, and Capra (to name a very select few) I was actually teaching myself a lot about the basics of how to construct a story in numerous styles. My point being that there are numerous routes to the same goal (something reinforced over and over again in film). A filmmaker without knowledge of film theory is essentially mimicking a style that they've seen somewhere, trying to copy someone else's pattern to create comedy or drama. This is because they don't understand that there's a framework that gives meaning to the images they've chosen to showcase. This is both incredibly basic and complex, and can include everything from editing style to the significance of the music chosen, a historical or regional context, and so on. It's not that you can't figure some of these things out by experimenting, it's just that you're wasting your own time trying to discover a formula that countless others have been trying to share with you.
In a simple example, it's the way a relationship can be created by just combining two images together. A shot of a face followed by a shot of an apple could be suggesting that the subject is hungry or has an interest in picking that apple up. Simple things like this help to explain why many student films are so wooden or overly didactic. It's an art to learn how to subtlety convey meaning while naturally encouraging an audiences emotional response. For instance, we don't necessarily need to create a complex shot by shot of a character establishing that he's hungry. Maybe we just need to hear his stomach growl. Why? A stomach growl is a universally recognized sound conveying hunger. Numerous layers can be added to this to establish context and meaning. Theory, for better or worse, is about heavy and repetitive discussions like this that aim to tap you into the culture and influence of the medium.
Relevance is also the essence of film theory; understanding what your work as a complete unit is saying about society and from what perspective it's doing so. From here we can break down scenes, dialogue, style, etc. Lot's of things will overlap.
Think closely about this, as whether you'd like to believe it or not every movie ever created does actually fit into some category or form of classification. What are you trying to say with your work? What does it mean? Why did you do it that way? None of these answers are as simple as they first seem.
So by this point you've expressed some interest in filmmaking, hopefully with a general sense of what you might actually like to do. You've made some shorts with your friends, as part of class assignments, or on the other hand, haven't had the opportunity to explore things to your full satisfaction. The question inevitably crosses your mind, should I go to film school? It's true that one of the biggest lessons regarding film school I can address is whether you should even go in the first place. This is a personal issue that will ultimately be decided by your finances, ambitions, opportunities elsewhere, and (here's hoping) your maturity. While these points may seem self explanatory, in a completely independent frame of thought you need to consider what it is that you want to learn, and even more so, what you're willing to sacrifice to do it. No matter what your choice their are immediate obstacles. There's also a reason why it seems that more than half of the people I went to film school with aren't seriously pursuing a career in video anymore (or have simply relegated it to a hobby). There are lots of paths, and film may be a springboard to a variety of careers not on a film set.
Depending on your location, you can always get work as a production assistant on a film set (or similar job) right out of high school. That's an opportunity to move up the ladder in the time that you'd be spending at school, not to mention a way to avoid potential school debt. On the other hand, if you want to focus on theory, make a lot of connections with other people in your situation quickly, or give yourself some time to experiment and develop confidence in your own skills, then university/film school is a widely accepted (if not obvious) way of doing this. There is no right answer, and at the end of the day, you're still going to be driving what you get out of the experiences that come your way.
I chose to go to film school, because frankly, I didn't think there was any other realistic option for me at the time. I banked on the fact that it was a foot in the door.
I knew there was a lot I needed to learn, and wanted practical advice on how I could approach movie-making in 'industry' terms. As someone who had played largely by the rules in high school, film school became my opportunity to challenge myself, stretch my boundaries, and really grow up. The decision to go or not is especially contradicting for me as I spent 6 years in production courses and then left without graduating, only a semester remaining, confident that there was nothing else the experience had to offer. I took the journey, but left without the degree.
My foray into post-secondary media production and studies was more valuable for what I achieved outside of the classroom than what I did in it. Ironically, it was my dissatisfaction with what my film courses were providing me that pushed me to take a more independent approach to begin with. I found success in student film festivals and other online competitions that provided some of the greatest lessons and rewards of my academic life. The opportunity for young filmmakers has only increased by using resources like Facebook, YouTube, etc. as a way to market themselves. All of this stuff really took off during my time in film school and I jumped on board in a big way.
Going to film school for me was just as much about going away. I left the city I grew up in for a place that I knew no one. It wasn't the easiest choice, but the decision thickened my skin and put me in a frame of mind that demanded I try new things, question my reasoning, and (in all ways) progress. Your strength as someone who makes a living creatively can easily grow out of a profound sense of self, and in my story this was the case.
Whether you go to film school or not doesn't matter as much as what the reasoning for your decision is. Film school provides a package deal (an expensive one), but the information and tools are widely available to define your terms and gain experience if you so chose. Be warned though, a committed day job (which you'll begin to justify the longer you're there) mixed with real life can easily crush creative ambition and stagnate your dream if you don't have the ability to motivate yourself. I'd argue that most people in fields like this get stuck, give up, and move on (which is fine) but, if you really want anything you can't stop working towards it.
You might not realize it yet, but your time is valuable.
For years I have asked the question, was film school worth it? I've weighed the financial burden, considered the value in teaching art, and broken down the technical advantages that such a pursuit provides. However, this is a loaded question to begin with and it's only made more difficult by the fact that I really don't know the answer. There are resounding pros and cons, both of which I feel I've experienced the extremes of.
What I have come away with in any case, are a handful of film school lessons. From tips, general advice, actual projects and assignment descriptions, film theory, critical thinking exercises, and ideas on what to expect both personally and in a real world (job) context, not to mention just the general experience of going from a clueless aspiring filmmaker to a less clueless independent filmmaker.
In moving forward, I'd like to inform, inspire, and fill in a few of the blanks for others trying to make the most of their film experience. I hardly have all the answers, but with film school in my past and an ambitious record of personal/creative growth over the last few years, there are a lot of things that I've picked up on and a lot of things that I think would help any other filmmaker interested in creative challenges. I've found myself inspired just by going through old notes and lessons again.
You have to ask yourself, what is it that you want to achieve with your filmmaking? Do you want to direct, edit, write? Narrow these options down, because even though you'll likely have a hand in a lot of these things, refining a specific skill can be more valuable than just general knowledge in numerous fields. Fight the urge to simply say director, when someone asks you what you want to do. In film school, director is practically a given (and it's really a dodge to the question because it's just another way of saying you want to do everything). Even if that's true, challenge yourself to be specific.
Ultimately you want to have a grasp on what a cinematographer, skilled camera person, or editor can bring to your project and how those skill sets can be relied upon to improve your vision (if you're directing). In the same way, learn how to take direction. Understand that your involvement and support in the role you play can be incredibly instrumental in the success of a project. Often when you're in a position that requires you to focus on specific details you're actually the one who can influence creative direction. Plus, it's just good advice knowing when to step back and step in - nothing worse than a set where everyone wants to play director.
It's never too late to revisit questions of purpose and motivation. Working in a creative field requires you to be open minded, willing to adapt, and confident in the choices you make. There are literally so many options to choose from, that your ability to create your own (initial) boundaries and terms will help to define the type of filmmaker you are and want to become.
Naturally, your style and approach will evolve, but if you're indecisive about the choices you make you'll never really see more than the surface. It's like reading a good book. You can read the cliff notes to understand the basic plot, but without investing time in really getting to know the construction of the story (and the natural emotional response it gives you) you'll miss the subtleties and reasoning behind why things were done the way they were. When creating a movie, no matter the size, you're constructing an experience, a series of frames that are meant to engage, question, entertain, and (hopefully) make sense. Unless you want someone else to decide what your work means, you need to appreciate the theory of why things are put together the way they are.
While I'm certainly not passed the point of receiving advice myself (although I guess no one really is) I feel that I have had my share of trials and errors in filmmaking or video-making. From a kid who wanted to make movies, to a film student who wanted to get out of class, to an adult just looking for film work, it continues to be an uphill battle.
There's certainly no correct formula to success, but if you're looking for a few tips on what you can do to improve your own creative ambitions, and maybe take filmmaking beyond a hobby, here are a few things that have helped me out (especially as a student).
1. Don't Assume You Know Everything About Film
Whether you're a film student or not, I've met my share of people who thought they already had it all figured out. There's never a shortage of techniques, concepts, styles, etc. to pick up on. The more willing you are to learn, the more experience you naturally open yourself up to. You don't have to like everything, but try and experience it at least once. The more varied and dynamic your approach, the more credibility you gain when speaking with other artists, and the more likely you are to refine your own tastes.
2. It's Okay To Like The Mainstream
Eventually you're going to encounter someone who will rant about how all Hollywood flicks are awful - formulaic, boring, repetitive, etc. Don't shy away from the debate, but don't feel guilty about stocking your own DVD collection with comedies. The world needs entertainment, and not everything has to be high art.
3. It's Okay To Like The Avant-Garde
Eventually you're going to encounter someone who will rant about how experimental films are cliche, without purpose and overly pompous, and how the only films worth seeing are the ones with A list stars and directors. Again, don't shy away from the debate, but remember to continually test yourself with a wealth of movies outside of the weekends top box office. You'd be surprised how often the avant-garde inspires what later becomes the mainstream. Remember, the world needs art and experimentation, and merging creative substance with accessibility speaks to every quality film made.
4. Create As Much As Possible
If you wanted to be a writer, you'd be told to write. If you wanted to be photographer, you'd be told to take pictures. Same goes for filmmaking: if you want to make movies (whatever facet of the industry you're interested in) practice doing it. Your greatest lessons will come from your own mistakes and successes, and trust me there will be a lot of them . . . mistakes that is. It always looks easier than it actually is, but your own push to see what you can do will pay off as you continue to improve. You most likely won't start off with the best equipment, but use that as part of the challenge. Sometimes limitations help to establish borders which makes it easier to work. The more you create, the more you learn.
5. Watch Critically
Filmmaking at its core is about experiences used to tell a story. Keep this in mind when watching other films, television and the random events in your own daily life. The more you pay attention to, the more material you'll have for your own concepts.
6. You Can't Please Everyone
So don't expect to! One of your biggest challenges is going to be finding a style and approach that you're comfortable with. A style that makes you confident enough to shake the 'you should haves' and 'I don't get its' that all filmmakers inevitably hear. You have to take pride, first and foremost, in what you're producing. If you've already acknowledged your projects flaws and decided to work on them, you may not have a project that everyone likes, but you will have one that meets your own standards. People who do like your work will respect that. And remember, opening yourself up to raw feedback will naturally lead to your ability to receive it and give it - not to mention, it'll thicken your skin.
7. Use The Internet
For an independent filmmaker the Internet is the best tool out there. It's a no-brainer. Use it to upload your work to various sites, create a blog to share it, network with people from around the world, research film terms, theory and history, look up festivals and competitions, get feedback from strangers, etc. etc.
8. Find The Answers You Want
Undoubtedly, you're going to question a lot of things from what type of equipment to use, to film school, to possible jobs, and so on. The beauty of a film career is that there are thousands of different ways to get to the same destination. Search out the info that helps to back up your approach. This may sound pointless, but don't underestimate the benefit of someone else's experience and the motivation you can get from a little positive reinforcement.
9. Promote Yourself, Network
There's nothing like a group of peers to share with, debate with, and draw from. By looking out for the interests of others, you'll have more people looking out for yours. It's a social business, and knowing the right people counts. Also, don't be afraid to promote yourself. It's obviously what I'm doing with this blog. All my online sources link back here, so if anyone wants to search me out it's as easy as typing my name - Luke Fandrich - into Google. The success won't be apparent overnight, but I've been asked to screen my work at different festivals just for the fact that people saw my work and could easily get in touch with me - the online portfolio also speaks to professionalism.
10. Get A Job
With any bit of persistence you're bound to find a job related to the field you'd like to work in. Even if you're just a production assistant it still gets you behind the scenes, and you'll still meet a lot of people. For me, I got my first post-university job because of the work I had submitted to the Medicine Hat Film Festival, where it was the company running the festival that remembered my work and hired me. I'm still currently working as a corporate videographer and editor, which is a great practical start to whatever I move onto next. This all ties back into gaining experience. Whether you like it or not, you can't do everything by yourself. Find a related or semi-related job to broaden your prospects and to get into the field that you really want.
11. Keep At It
The most general and vague advice I could probably give is also the most important. There are going to be times when you feel like no one is paying attention, that what you're doing doesn't matter, and that's it just easier to give up. Remind yourself on a regular basis of what it is you're working towards, and what it is you've accomplished. It's like pulling a heavy wagon up a hill. You may not be able to see the top, but just by keeping at it you naturally work your way higher. If you stop, you'll just slide backwards and have to make up the ground again later.
Hard work talks, persistence talks, passion talks, sitting back and hoping only wastes your time. Working through the tough times not only says that you're serious, it helps prove to yourself how much you want to succeed. Enjoy your experiences, embrace challenges, find ways to motivate yourself, and learn with an open mind. Those who are persistent end up reaping the rewards. The most sound advice I have for aspiring filmmakers is the one thing that I can actually guarantee; Keep at it and you'll find your niche.
I think one of the best lessons any young filmmaker can learn is to search out as many outlets as possible to share, discuss, and promote your work. When I graduated high school in 2002 YouTube wasn't even an option yet, and that's just one outlet that's made it considerably easier to get yourself noticed - and cheaper than film school.
When considering film school you have to weigh your financial situation, etc. to see if going is even feasible. While I'm not entirely convinced that the financial obligation is worth it, what film school does provide is a tremendous opportunity to network, gauge the level of your skill, and the time to experiment and improve. All of this provides you with more options as a filmmaker. Allow me to expand on this:
Networking
Whether it's with your classmates, your profs, the girl you met in Art History, or the friends you made at the campus pub, university lends itself to meeting new people on a daily basis. This is valuable for numerous reasons. The more people you have in your court, the more people you have to support you. You never know when you'll need someone to act in one of your shorts, someone to hold the camera, someone to vote for your movie in a contest, someone to tell you about the contest in the first place, someone to refer you for a job or get you hired themselves. Just like a spider spinning a web, the larger your network the more likely you are to catch opportunity. You have to work at this! People aren't just going to approach you, and you need to teach yourself how to take advantage of Facebook, Myspace, YouTube, etc. not just as a way to waste time, but as a way to build a following. The internet is the cheapest and most global outlet for reaching a lot of people with your ideas quickly.
On the surface I know all this sounds like a no-brainer, but of all the people I've met through film school and various student festivals, so few people actually take the time to do this. Start as soon as possible. The time and work it's taken for my blog and other online accounts to grow to the point of actually being able to significantly help me took months. But, the work does pay off if you're dedicated. This blog itself helped me campaign for votes in early 2008 and helped me win $3500 in an online video contest, as well, when I mentioned it in my job interview with Stream Media in May 2008 it immediately helped me make a strong first impression. I think you get the point.
Gauge Your Skill Level
All first year film students think that they're 'the shit'. We all start off this way because we're young and we've grown up having all our friends and family tell us that we're the next Spielberg because of that one video we made in 8th grade. Don't get me wrong, it's great having people cheer you on, but at some point you have to step up to the plate and ask yourself if working in film is a career choice or just a hobby.
As much as I've been impressed and inspired by my peers time and time again, I've also been incredibly embarrassed by some of the lazy work that I've had to screen my projects with in production classes. While no one is without their occasional flops, having film classes that allow you to talk about and receive feedback on your work allows you to see where you fit in the spectrum of things. It's where I was able to pinpoint my love for editing, and build confidence by giving and receiving critical comments. Just knowing that I'd have to defend the choices I made with my videos in class motivated me to work harder and produce the highest quality of project that I could. The exposure to lots of student films allowed me to see that all the work I had been doing helped put me above the curve.
Time to Experiment
To each their own, but for me, film school allowed me the time to experiment with various types of equipment, software, genres and styles. Had I gone from high school straight into the workforce I wouldn't have had the time to produce the number of short films that I did so quickly. I was able to learn techniques and tricks by being challenged by other peoples standards, and because of that, was able to refine my own style and develop a portfolio of work that represented the variety I was capable of. Practise is the only sure fire way to improve, and often without someone pushing us we don't feel the need to be quite as productive - and certainly in such a short period of time.
Remember that in film, as in any art, you're competing against the person who may not necessarily have the best work, but instead against the person who is able to best sell it. Keeping an open mind, pushing yourself to grow in as many creative directions as possible, and learning to promote yourself will give you plenty of options when opportunity comes knocking.
With it seeming more and more clear that I won't be returning to school in the fall I've been doing a lot of reading on whether or not completing my degree was really worth it.
It's not really a matter of just dropping out, because in my defense I've completed all my core production classes. What I'm not completing are the extras, a language credit, a studies class, a couple other ones like that. I'm generally just tired of the school experience and the cost to continue is pretty much the nail in the coffin. I feel confident though, given my film fest and competition credits, my core production classes, and the continuing reassurance that my field (film production) is one place that you can succeed without a degree.
I didn't come to this conclusion lightly, but it seems to be the right choice for me. A couple of blog entries I came across about film school made me feel better about it all too. The first was the '10 reasons to go to film school' and the second was the '10 reasons NOT to go to film school'. I got these off of DV Guru's blog, see the link at the bottom. I'll share the second post later, but I have to say that I agree pretty strongly with both entries, and feel that I've benefited a lot from the reasons listed below even without finishing.
So, here are the10 reasons to go to film school:
1. Peer connections.Your classmates may be the most valuable resource you'll ever have. Go through the program, make friends, find alliances, and when you get out, stay in touch with everyone. As long as you realize there's life after film school and don't burn your bridges while you're there, you'll be able to find collaborators for your own projects, or possibly get a job on another classmate's project. While you're there you may even meet a writing or producing partner--the Joel to your Ethan Coen. That's not a good comparison, since they're brothers, not classmates, but... you get the point. Also, peer connections aren't the only advantages that come with a film school degree; you'll also get...
2. Industry connections.Because film is a so-called "glamour" industry, everyone and their mother wants to work in it; this means the barriers to entry are more prohibitive than they are in, say, the hospitality industry. Breaking in is hard. But going to a program like USC or NYU gains you instant connections to an alumni network. This can be in the form of your professors keeping in touch with previous students who now work in the industry, it can be through your school's career services, or it can even be in the form of finding out at a job interview that your would-be boss also went to your alma mater (suddenly your job prospects are looking up). But for many of these interviews, to even get your foot in the door you need...
3. Technical know-how.While listing 10 reasons not to go to film school, I asked, "can art be taught?" While that inspired some debate, I don't think there's any doubting that craft is certainly teachable. One commenter noted in support of the "art can be taught" argument that, while in film school, he was being taught how to draw; I would argue that being taught to sketch "mediocrely" [sic] is, in fact, merely an instruction on craft. So while no one can teach you how to be the next Scorcese, they can teach you camera framing, continuity editing, or high and low-key lighting. If you think you want to specialize--that is, if you want to be an editor or cinematographer, for example--then film school can certainly give you the technical knowledge to be proficient in those areas. And while you're learning the technical aspects of film, you're also getting....
4. Intelligent feedback.Your professors and peers, being educated and theoretically intelligent when it comes to film, can give you sophisticated feedback on your own projects and ideas, and help mold you into a better filmmaker. Outside the haven of film school, it's not easy to get together a group of film-aware individuals, and have them critique your project. Considering that film school typically takes place during your formative years, the collective wisdom and advice you receive during your attendance could help inform your whole career. And much of this advice comes from...
5. Mentors to push you.Shooting a no-budget DV flick with all your friends in it, and then showing it to that same group of friends and getting their "that's me on screen, this is awesome!" feedback, may not be the best way to develop your inner auteur. If you go to film school, you may or may not meet a great professor that inspires you in your studies, but if you do, that experience alone can be worth the price of admission. A good professor can push you to work harder and be more daring than you would be on your own; even if you don't find any particularly great teachers, however, the professors can collectively teach you...
6. History and theory.Even if you want to make experimental, avant-garde films, you're still standing on the shoulders of giants. Not knowing theory and history is the equivalent of saying ignorance is bliss. Many young aspiring filmmakers cultivate a belief that "truly" creative films are created in a vacuum--and it's easy to buy into this, given Hollywood's current penchant for remakes, adaptations, and other "homages"--but skipping an immersion in history and theory is one sure way of shooting yourself in the foot, not only in terms of your own knowledge of what's been done before, but in terms of...
7. Credibility.Diplomas are a necessity in many professions; film is not one of them (I'm still waiting for someone's "directed by" credit to be capped off with a "Ph.D"). Nevertheless, industry vets looking to separate the wheat from the chaff will often take you more seriously if you graduated from film school; at the very minimum, it shows you're serious about it (because, as already stated, everyone and their mother wants to be in movies). Of course, what truly matters in film is not where you went to school, but what's on your reel and what credits you have to your name; that is, what you've actually done. And in order to accomplish things, you need...
8. Time for your projects.If you opt out of film school and do the 9-5 thing, pursuing your own projects on the side can be prohibitively difficult (to a certain extent, this depends on what your day job arrangements are). Working a day job and saving up your money to work on your own blood-sweat-and-tears project has a certain romantic appeal to it, but you'll need funds, equipment, free time, and last but not least, collaborators. Film isn't like writing, where you can sit down and do it yourself; for the most part, you need someone in front of the camera, too. And even if you're shooting a documentary all by yourself, you're most likely going to need large chunks of time set aside to shoot, which you might not be able to swing with an employer who expects you to show up to work every day. Film school gives you the collaborators, framework, and the time and space to work on your film pursuits (unless, of course, you go to a film program where only one in ten gets to actually produce his or her project, and everyone else becomes crew...). Also, if you stay in film school, you're more likely to...
9. Stay the course.If you throw yourself into the working world, you'll tend to go where the opportunities are, and often times they aren't always film-related. I'm not saying that you'll come out of school with your sights set on being a writer/director and somehow end up becoming an air traffic controller, but I am saying that it's likely you'll take some detours along the way. Having elected not to go to film school (at the graduate level) myself, I'm speaking from experience--while I'm currently doing graphic design at MTV, I'm not doing film or video per se on a daily basis. If you go to film school, by contrast, you're setting aside three years to focus on film alone, and it's one way of ensuring that you won't get sidetracked. No matter how focused you are, however...
10. You either have it or you don't.Yeah, it's the same as my #10 reason not to go to film school, but that's exactly the point; it applies to both lines of reasoning. If you're truly motivated to express yourself through the medium of film, ultimately... you're going to find a way to express yourself through the medium of film, degree or not.
