Filming has ended on Memory and I'm struggling with the initial edit. Then we'll need to do overdubbing and colour correction and some more sound stuff. But no more location shoots are needed.
It's been a learning experience. I know now a lot of things that should make future projects a bit easier. So long as I write them down and keep referring back to them. So here they are.
Get a Continuity Monkey I was tempted to have every member of the team be [Job Title] Monkey, but there are probably union rules against that sort of thing. So I'll stick with just having a Continuity Monkey. In our first filming session, thankfully indoors and not on a restricted timetable, Mary needed to change outfits more often than she should because I hadn't sat down and worked out which scenes were where in the story's time line. Next time I need to get together with someone a week or so before the shoot and work out continuity, then have them there on the day to make sure I don't mess with it.
For future shoots I'd quite like a cinematographer as well. Someone who can get the best shots from the camera whilst I direct or try to act. Even my cheap mini-DV camera has dozens of settings any number or combination of which could have improved the quality of our footage and cut the amount of post production colour and levels balancing I'm going to have to do.
"Have you checked the sound?"This became Tim's title on the first day's shoot. At the end of a take always rewind a way and check the quality of the soundtrack. It's better than getting the tapes home and finding you've mangled the soundtrack because of one of the following-
1. Silent Movie When using an external microphone with in-line amplification, as we were, just leave it turned on no matter what and change the battery every so often. It's easier than having to remember to switch it on every take.
2. Wind Noise BlowsWe have no useable dialogue from the filming session in Salford Quays, hence the need to re-dub the sequences. For future exterior shoots I'm going to look into making one of those furry microphones.
3. Electromagnetic Fields Are Not Your Friends Our first problem with EM hum was our own fault. Trying too hard to be clever, we plugged the transformer into the camera whilst filming and got a 50 Hertz buzz on some key takes. Luckily, the worst of it can be removed with filters but we shouldn't have let it happen. Second time was beyond our control because of all the electronic equipment and related sockets we ran the mic cable past when filming in an office. Orientation of the microphone can make a difference in these circumstances, so experiment.
Suggestion- get some headphones and plug them into the camera, so you can hear what the microphone is picking up. This should allow you to spot the problems above sooner.
Reflective surfaces can be great, or grating There's one shot from the first day that I quite like, featuring Mary and multiple reflections. If you can keep yourself and your equipment out of shot, reflections are great. There's another shot of Dave where I didn't realise I was reflected in the television screen directly opposite the camera until the next day.
Turn off your phone Particularly if you're the director. I'm addicted to telecommunications. It's surprising we didn't lose more takes to phone calls and text messages.
Do some reconnaissance I managed to check out all three locations before turning up with a camera and crew, taking photographs for reference. This helped me plan shots and saved time on the day. Wander around the location with an idea of what's to be shot there but don't let it limit you. Remember that you're making a visual piece and look out for great shots to work into the story.
Of course, this doesn't always work out. When I first looked at the Green tower I decided that there had to be some footage shot on the balconies. When the day came the wind at the top of the building was strong enough to nearly knock me off my feet, so we went inside and filmed the scene over the breakfast bar. There was no such option in Salford Quays, which I had photographed on a calm Autumn day but had nasty winds funneled off the ship canal when we shot.
Product placement Most films are about the merchandise these days, so I feel no shame at appearing in the first episode of Memory wearing a Spinneyhead
"I'm Your Stalker" T-shirt.
As many takes as you feel comfortable with Location shoots are deadline driven. You have to get all the shots required by the script in the time allowed you. However, if you get all that footage and some of it simply doesn't work when you get to the editing stage you've wasted a lot of time as well. I shot internal footage from at least two different angles, getting three takes on occasion. This also gives more option at the editing stage in case the perfect take proved hard to get.
Have Fun Let's face it, the moment this begins to feel like work you'll want to do it less. Enthusiasm is the main driver of no-budget filming, so once you lose that you're in trouble. The good thing is, unless you go on to make big effects-heavy features, the sense of fun is going to stay with you even after you start to make money from your projects.
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