Last year some friends of mine came and asked if they could borrow some of my video equipment for a project they wanted to film. On and off over the next few weeks I'd see lights, tripod, a dolly or cables go out in the morning in a van full of excited people and return late at night, returned by a team of weary souls. Six months later I was invited to a party in a pub where they'd set up televisions everywhere, all borrowed of course (mine was balanced precariously over the fruit machine.). Their finished video lasted all of twelve minutes, was nowhere near professional quality and filled me with envy. I'd forgotten the pride which comes from watching your own unpaid hard work on screen. There's something special about having friends round, slipping a DVDo into the player saying "here's what I made with some mates" and then waiting for the praise to flow.
Documentaries are all very well but they tend to be made with small teams and unless the subject interests the audience, they only are good for one showing. There’s something about a scripted drama or comedy which excites the imagination. A good story can grab the audience and force them to suspend belief for a while. In a way fiction on screen is a means to move the viewer to laugh, scream, get angry or cry by manipulating their emotions. That’s a lot of power to have!
Runners say that the hardest part of a marathon is training and the hardest part of the training is putting running shoes on and getting through the front door. The hardest part of making a video is deciding to be the producer but in taking on the challenge you’ll learn an incredible amount about all aspects of videomaking and when the project’s completed, the sense of achievement is fantastic.
Without a doubt, the producer is the most important person in any video production. A lot of people assume that the director is in overall charge and makes all the decisions. Wrong. The producer is the one who collects the Oscar for “best picture” and the reason is because he or she took on the task of getting the picture made. Without someone to persuade and push, projects rarely get past the talking stage, let alone to the "put the finished DVD in an envelope and send it to BAVA" stage. This doesn't mean that the producer can't do something else as well, such as directing for example, but it is essential that one person is responsible for the organization and sometimes it takes a lot of courage to be that individual. The rewards however, are more than worth it when you get the applause and credit at the awards ceremony. Don't ever think of failure, you've got to believe that your group's going to win and you're going all out to collect that prize.
It's not essential to belong to a film or video society to get a video crew together but if you are a member, don't be shy in putting a suggestion forward, often the main reason that so few productions are started is a general reluctance to be the one who will see it through to completion. Even if you're a new or young member you may well find that a lot of people breathe a sigh of relief if you show willingness to be the producer of a scripted video. If you don't have a video society handy or are not a "club person" then mention your idea to friends and colleagues. There are an awful lot of people out there who would love to get involved with film and videomaking but don't have the confidence or knowledge to organize it themselves. You'll be surprised how many of your acquaintances are willing to "help out behind the scenes" or "do a bit of acting" in their spare time. Good organization is the foundation on which your project will stand. A bit of care and thought in the p! reparation will pay dividends in all the other stages up to completion, so spend a bit of time getting ready. As producer it's you who keeps everything on course.
So, having taken on the job it's only fair that you should know what it entails. Well firstly you're responsible for choosing the project, and that usually means getting a completed script. Okay, here's where the amateur sector differs from the pro's, you're either going to have to write the script yourself or get someone to do it for you. Filming a published script will involve you in arranging fees etc. etc. all of which is probably outside your budget (oh yes, you will have a budget, more of that later.) and by having a tailor-made script you can work to your own ideas and resources.
Your next task is booking the crew, starting with the director who will, of course, have the same enthusiasm about the story as you do. It may be that you're going to direct the video yourself but don't be afraid to choose someone who you feel you could work with and learn from, especially on your first project. Having decided that you're going for gold, it's worth making a list of your resources before going too far along a particular road only to come to a grinding halt. Get a small pocket- book and keep it on you at all times, this will become your bible. The first thing to do is write your name, address and mobile number on the front page, because if you don't, sod's law guarantees that you'll lose this book as soon as it's full of vital information! Make a note of the people you've got available, what they've shown an interest in and, more importantly, what you think they'll enjoy and be good at. If you're getting a crew to work for nothing, keeping them happy is way up on your list of priorities, it's not a good idea to force someone into a job which they don't want to do. Your skills of persuasion will be severely tested here. Actors and actresses are called "talent" in the industry and it's a good idea to find out what sort of talent's available to you.
Whatever you do don't force a reluctant performer in front of the camera, it will look awful and neither the actor, the rest of the team or the audience will thank you for it. Making someone look stupid is the quickest way to make an enemy for life. Willing talent can be found all over the place! An excellent source is the local amateur dramatic society which will also have a pool of back-stage skills which can be used in videomaking. If possible, go armed with a broad outline of what you want to do and either a few pages of a script or some sort of demo tape of things you've done in the past. Be honest about your budget and expectations and you may well come away with a lot of your personnel problems solved.
Get an idea of what locations can be used. Find out where people live and work and what they've got access to. A great location can usually be worked into the script and adds appreciably to the impact on the audience. Whenever you're out and about be your own location scout, making notes whenever you see an unusual or impressive building, street or anything which is visually exciting. That pocket book’s filling up and going to be a valuable reference tool. At this point consider your second-in-command, a Production Manager, who will help you with getting everything ready for the shoot, remind you what still needs to be done, push you when you’re flagging and be your lifesaver on location. If you're directing the video as well then a P.M. is absolutely essential.Theoretically the choice of cameraman is easy, he who owns the camera, uses it, simple! This may well be the approach some clubs offer but it's not necessarily the best way to get a video made. On the majority of professional productions there's a Director of Photography who rarely operates the camera. That's the job of the camera operator, makes sense really. The D.o.P. thinks, the operator sets it up and the result is usually better than one person working on their own. This system is great for getting younger members of the team more involved than just fetching and carrying. Don't be sexist here. There's nothing in the male genes which makes cameramen better than camerawomen, in fact the opposite is often the case, so push for flexibility in the choice of D.o.P. and operator!
So now you've got to work out finances. At this point most people say, "We've got no money so there are no finances, no problem." Wrong! There are always problems with money. Who pays for the gear for a start? Should the cameraman pay for tapes? Is it fair to expect the Props to pay for equipment? Make up? Special effects? Equipment hire? Spend the time to sit down and work out what you'll need to complete the production and then spend a sleepless night worrying where the money's going to come from. If there’s no outside source then accept that you’re going to have to keep putting your hand into your wallet but it’s not fair to expect all of the team to do the same. Sometimes it’s best to have a whip round and have a central pool of money but it’ll empty pretty quickly and contributors will wonder where their money’s gone. Be honest and acknowledge that everyone’s going to end up out of pocket and make a careful note of everything everyone spends, at least then there’s a chance that it can be paid back should prize money appear. Sometimes sponsorship can be the answer. Be prepared to be at the end of a long queue for free videotapes if you ask the manufacturers but a local camera store might be approachable and don't forget to try the bigger superstores, stranger things have happened. If you're going to be a success as a producer get used to begging.
Shooting on location can often take a lot of energy and it’s a foolish leader who neglects the effect catering (or lack of it) can have on the crew. Who pays for this ? Well, maybe you could get a local fast-food outlet to help out in return for a mention in the credits. The chances are pretty remote but since you’re brimming with optimism there’s no harm in asking...
This is one of the point’s where it’s essential to remind yourself why you're doing this. Keep doing this at regular intervals Remember that the project's supposed to be fun! Try not to become overwhelmed by the work in front of you and maintain your sense of humour. Keep your eye on the rewards and enjoyment to be had during filming and when the project’s over. Being part of a working videomaking team is a buzz although it may be hard to remember that during the initial organizing phase. When you've worked out what people, equipment, locations and finances you've got available then it's time for you to take a deep breath and approach the script.
The Crew
PRODUCER The one with overall responsibility for the production. The organizer, fixer and final decision maker, the buck stops here. The producer arranges the finance, the crew and the cast. An ability to persuade, cadgole, beg, borrow and delegate without putting others' backs up is essential. This is the person who's name appears on the award certificate and everyone who wasn’t involved in the production wonders why.
DIRECTOR The director is there to transform the written word into moving images and how her or she does it is very much up to the individual. Some directors insist on being involved in everything right down to the choice of clothing, others are prepared to rely on their crew and concentrate on the actors. A good director must be capable of communicating clearly and reaching a decision quickly on set. During shooting the director's word is final and the rest of the team must be prepared to accept this without question
CAMERA(WO)MAN The Director of Photography or D.o.P. is responsible for the "look" of the recorded images. He or she will decide what lights are used and how they're set. The D.o.P. is responsible for the choice of camera and lens angle, filters, movements and camera effects. The actual operating of the camera is usually by an operator, leaving the D.o.P. to concentrate on the whole, rather than getting bogged down in specifics. A monitor is a useful attachment especially if the D.o.P. and operator haven't previously worked together as it enables to D.o.P. to keep an eye on what's actually being taped.
PRODUCTION MANAGER In most amateur productions this role is left out and the rest of the team suffer as a result. The P.M. is there to ensure that everything runs smoothly. They inform the cast and crew when they're required and where, ensure that everyone has transport to the location, that electricity and toilet facilities are available, carries spare copies of the script, smoothes the paths, placates worried householders and keeps bystanders quiet. Good communication skills are essential and the ability to walk on water optional. It is the job which is taken for granted when done properly and causes the most delays and annoyance when done wrong.
CONTINUITY The hardest job on a video shoot, Continuity is not only responsible for making sure that shots filmed days or weeks apart fit together but often for keeping an eye on successive takes! She (it will usually be a “she” since most males go mad after one day attempting to keep track on what’s going on.) will have to have an eye for detail, a constantly poised pen and the latest version of the script. After the first day’s shooting the camera team, wardrobe, make up and the director will expect her to know everything which happened.
EDITOR When everything’s been filmed the editor will have to cut it into little bits and stick it together in an order which makes sense. Quite often the editor will be the owner of the edit system and the only person who knows how to use it. Apart of course from next door’s five year old. In theory the director has the final say on the editing but if the editor wasn’t present during filming he (although in the professional field there are an awful lot of women editors amongst the greats) can often have a fresh approach. A good editor will have a sense of timing, rhythm and infinite patience.
