What I Learned On Short Film #2

After the fun and success of my first short film, Happy Birthday, You’re a Zombie, I threw myself into Upon Reflection, a longer and more technical film.

The idea for this film came from a tutorial I watched on Indy Mogul about shooting a subject and their mirror reflection at different times then marrying them together; gives the illusion of two distinct subjects. The effect looked really cool so, I started feverishly writing notes and plotting and staring out the window until Upon Reflection was born.

As with my first attempt behind the camera, there was a score of lessons to be learned in the making of this, my second short film.

I was happy that everyone to whom I showed the script was impressed by it. This experience drove home that my wheelhouse is writing; I’m sure I’ve surpassed Gladwell’s supposed 10,000 hours of performance/practice. Even so, I have always maintained that writing is a craft never mastered so, consider my 10,000 hours extended to unlimited.

Karen Dance pours while Peter Campbell watches. A view of the high-tech equipment used on the shoot.

This attempt had me reaching out to actors, people who have been in stage or film productions before and it was clear that not everyone is at my ‘no budget’ level. Many of the actors I approached either had scheduling problems or were no longer working ‘gratis’. It was the best thing that could have happened because I ended up asking Peter Campbell, who originally was to play the lead detective, to take the lead of the man and his reflection. He was amazing! As were all of my performers. That is a certainty to which I will always cling; actors act – and they’re damned good at what they do.

I made the mistake of falling in love with certain locations and shots. I saw a large bathroom for the main scene and searched high and low for it. There was nothing available without taking the route of permits, insurance and paperwork. I stuck with that vision far too long which delayed the shoot for months; that and the lack of a committed actor for the lead. I also saw a crane/jib shot in the production and no matter how I tried to figure out a way to do it – rent or DIY – I couldn’t justify the cost. Still, I hung on to that shot and it cost me something more precious than money – it cost me time.

Karen Dance prepares to add the blood effects to Peter Campbell

If I ever again fall in love with a shot, I’ll make sure the calculation is done more rapidly; either find a way to shoot it or quickly move on to an alternative. Hell, I’d cut out shots before I’d stall myself like that again.

I lost control of my shoot. Before shoot day I finalize the script then create a shot list (I’m not a storyboard kind of guy). I stick to my shot list like a lifeline, that is, I did, until this shoot. I was challenged about many things, not the least of which was actor motivations. I saw this as a simple script to screen jump but I failed to see it from an actor’s point of view. That is one of the most important lessons I learned on the set of Upon Reflection; every actor needs to know what happened to their character leading up to any shot. I answered many questions I hadn’t considered while writing the script. To be candid, it threw me. I wasn’t prepared to be peppered with characterization questions. Time was fleeting and my shot list was abandoned in order to get the shoot completed on time. 

I give some instructions to my two detectives, Sandy Morrison and Jane Pokou

That was a mistake. A very big mistake. I failed to complete many shots and that left me scrambling in post to make up for them. There were places that needed close ups, one shots of a two shot conversation, blank spaces that were absolutely critical for the effects I needed – missed because I wasn’t prepared for what wasn’t written on the page. That will never happen again because every shoot from this day forward will start with a table read; a gathering of the actors to sit and go through the script so they can ask any questions they have before we get on set.

In keeping with my budgetary restraints, I wore many hats in the making of Upon Reflection: writer, director, cinematographer, camera operator, sound, lighting, props, continuity and editor. That was the biggest mistake of all, taking on so many roles that I couldn’t give them my full attention. My goal is to direct a feature that I’ve written. To do that, my focus has to be on the writing and directing. Upon Reflection was written to push me on both of those fronts but fell short because I took on too much responsibility. So, if you’re reading this and are looking to gain experience in lighting, cinematography, camera work, editing…anything other than writing and directing, then stay tuned for word on my next project. Trust me, if you work for food, I’ll be needing you.

Poor Peter had to endure the sun and a photo bombing from Sandy.

I lucked out on this film and was able to meet some new, talented people, Peter Campbell and Jane Pokou, who I hope to work with again. And, I was able to call on friends who’ve worked with me before and who did a tremendous job for me. Laura Marks continues to impress me with her acting. Karen Dance is an amazing makeup artist and I highly recommend her for any film. If not for Tony and Raquel Heayn, continuity would be terrible and I would have no stills of the production. They also helped set up all my sets. My wife not only acted in this film, she helped in so many ways. A great big thank you to everyone for all their help. I hope we can all work together again, soon. And, I know that I will learn just as much from my next project. 

Karen really does love what she does!

Sandy checking out Karen's excellent effects.

This is how Laura Marks studies her lines - on a smartphone. Very smart!

Tony Heayn looks on, ready to pounce into action for continuity, set up or breakdown.

What I Learned On My First Short Film

I’ve been shooting as much of everything as I can. It’s one thing to shoot your tree being removed, some birds at the park or the dogs playing in the yard, it’s a completely new experience to write, direct, shoot and edit your own short film. Though I learned a lot from the 24 hour film challenge I entered last year, I’m not considering that my first short film. Happy Birthday, You’re a Zombie is my first short and it is very short; just over one and a half minutes long. 

The most important thing I learned shooting this short is that I have a lot more to learn. A lot more! Though I’m well versed at screenwriting, I’m as green as they come behind the camera and as a director.

My friends and family are priceless! When they committed to help then showed up on time and ready to go, it was the greatest feeling in the world. It gave me confidence and it let me know that these truly were people who wanted to be there. They wanted to help, to be a part of what I was trying to do. It inspired me to do my very best. 

My wife is a Saint. She filled so many roles on set that I should have credited her as not only the zombie, but wardrobe, makeup, props master, candle wrangler and a heck of a lot more. I could not have completed this film without her.

Lighting is the bane of a filmmaker’s existence. Therefore, lighting is now the bane of my existence. I’ve been a photographer for thirty years but learned that shooting stills is far easier than shooting film with existing light. I shoot in one direction using settings gleaned from the available light and the shot looks great. Turn the camera around to shoot in the opposite direction and the shot looks like hell. You are constantly checking to ensure consistency in your lighting and it is a hell of a chase.

You can never have enough lighting. I MacGyvered a light that I never used, but I was so happy that it was there just in case I needed it. I had four lights available and I would have been comfortable, and happy, with even more.

 

Timing is everything. In a time when digital means you’ll never waste film, there should never be a shot not covered. I still kick myself for not getting more (and better) coverage of the amazing zombie makeup by Karen Dance. I may never have used it in the film, but that doesn’t mean I couldn’t use it in a reel or that she may have wanted some footage to use on her reel. There were a few instances during edits that I wanted to reassemble the team and shoot just a few more angles, a bit more footage. Something I hope to avoid on future shoots.

My creativity has to extend beyond the idea, script and shooting to problem solving. The aforementioned lights were one such dilemma. I had no budget for lights and used a 500W halogen worklight indoors with a reflector to help extend and/or diffuse it. The Dollar Store is a lifesaver. Home Depot should be renamed Problem Solving Depot. I created my own dolly using two eight foot long channels laid on the ground side-by-side and used string to pull a $17 Walmart skateboard across them, the wheels of which I swapped out for Rollerblade wheels. I was forced to think on my feet and come up with affordable solutions to what seemed like problems only lots of money could solve.

My parents often said, “You’ll never get the jail for asking.” They were right. Sometimes it’s hard to pluck up the courage and ask your friends, loved ones and even strangers to help you with your film projects. I took my parents’ advice and asked a lot of people for help because truly, the worst thing they could say was no. No one gets hurt. No one goes to jail. And, I’d never hold a grudge against anyone for saying no. But, now I’d beat myself up if I didn’t ask. And, one more time to all the people who helped me on my film, a great, big thank you!

I’m sure more lessons will penetrate my brain as the weeks go by. And, I look forward to it, both the learning and the filmmaking.