Tip #100: Free film school

By Dan Parkes (Director/editor)

This is the 100th and final production tip in the making of our low budget film Ambleton Delight.

One question we have often been asked is, should I go to film school? Those in our production team have been to a film school of some sort. Itsuka Yamasaki and Sinead Ferguson went to Raindance and Kieron James studied acting at ACT (Academy of Creative Training) and I went to Brighton Film School. However, we would all undoubtedly say the same thing... that we learned more making this film than we ever did in the classroom, as this blog will testify.

So why go at all? The answer really depends on what you want out of it. If you are wanting specific information or instruction or a particular qualification for credibility, then the answer is definitely yes find the right school or course and go for it. But if you are wanting to learn about practical film production, this will very rarely happen in a typical film school environment. And be particularly careful of film schools or courses run by those who have made super low-budget films, especially if they are charging you an amount that makes you question whether the last part of the course will also recommend setting up your own course to recoup production expenses! We made our film very cheaply which is why we have been happy to provide all information for free.

The best idea is to either get involved in film production in some form, such as through work experience, as a runner or production assistant or to make your own film from scratch. But either way, read as much as you possibly can about filmmaking -not just online but in books- and watch as many film extras such as the behind-the-scenes featurettes as possible. Then go out there and put it into action. It is the hardest way to learn, but it is definitely the best.

This blog as covered each area of production along the way of making our film, so if you need some ideas of how to do it, and how not to do it, check this complete list of tips:

Intro to blog
1. Use what you've got

Pre-Production

2. First Draft
3. Writers block
4. Production software
5. Naming a film
6. Production team
7. Financing
8. Public funding
9. Self funding
10. Product placement

11. Short or feature
12. Naming characters
13. Script
14. Budget

15. Locations as characters
16. Finding locations
17. Key locations
18. Seamless locations
19. Unorthodox location scout
20. Location permission
21. Location tips

22. Casting
23. Production design
24. Character design
25. Low budget design tips

26. Sets
27. Auditions
28. Named actor
29. Rehearsals
30. Contracts
31. Actor's agents
32. Crew

Production

33. Cinematic camera
34. Tapeless workflow
35. Second unit
36. Storyboards
37. Shot lists/schedules
38. Send out good press releases
39. Low budget make-up options
40. Call sheets

41. Catering
42. Lighting kit
43. Lighting techniques
44. Props
45. Sound
46. Wardrobe
47. Filming rain
48. 'Guerrilla' filming
49. Film and production stills

50. Director with a vision
51. Director communication
52. Directing basics
53. Acting
54. Successful actor
55. Prima donna actor
56. Night shoots
57. Day-for-night
58. Actors
59. Extras
60. Continuity
61. Making Of
62. Paperwork

Post-Production

63. Editing workflow
64. Editing tools and techniques
65. Sourcing music
66. Special effects
67. Bands and solo artists
68. Tailor-made film score
69. Scoring to picture

70. Colour grading (timing)
71. Final sound mix
72. ADR
73. Voice over
74. 5.1 surround sound
75. Audio commentary

76. DVD master
77. DVD copies
78. Formats
79. Blu-ray
80. Subtitles
81. Film logo
82. Film poster
83. Trailer
84. Credits
85. Website
86. Social networking
87. Free software

88. Artwork permission
89. Final cut
90. Test audience
91. Premiere
92. Film festivals
93. Distribution
94. DVD artwork
95. Classification
96. Copyright

97. Communication
98. Haters
99. Mistakes
100. Free film school


Any corrections or dead links etc please let us know.

And don't forget our videos as well:


















Thank you to all the contributors to the blog and those who have been following. We wish you all the best in whatever film(s) you are making and hope that this blog has some part in making your creative dreams come true!

Tip #99: Learn from our mistakes

By Dan Parkes (Director/editor)

As cast and crew we are all very proud of the film we produced. Not only the way it was made and for how little, but the final product is something we are very satisfied with, as in many cases it has exceeded expectations. However, that doesn't mean it couldn't have been a lot better!

In fact, from my perspective as the director I think there were 10 key mistakes that I was personally involved in making:

1. Under-developed script
The script was an adaption of a short film concept that itself was based on a true story. It was written in a matter of months and although we had many different drafts and long script editing sessions with three writers, the producers and a script supervisor present the fact remains that a lot more could and should have been done. It should have been a lot shorter, several scenes could have been reduced or collated together and in particular dialogue condensed to avoid unnecessary repetition. (see tip #13).

2. Name of the film
A film title should be memorable and this one just isn't. People struggle with it. It was originally entitled "Apple Pie" but this seemed too simple and it went through several different versions until resting on a fictitious village name and the name of the dessert. It was a nice idea...but if people can't remember it, then it doesn't work (see tip #5).


3. Too many locations and characters
We tried to keep the number of locations and characters to a minimum, with several characters condensed into one, but somehow these aspects of the production kept expanding and in the end made a lot more work for everyone involved (see tip #15).

4. Target audience
We never really addressed who our target audience was, other than those who enjoy the generic "drama" genre. This was probably due to the "inspired by a true story" and "passion piece" elements of the production, but that is no excuse. We should have identified our audience more, as this is crucial for marketing the film later, and also for considering classification (see tip #95).

5. Logo clearance
During the production we did try to avoid including logos and brands that could cause issues, but we just weren't vigilant or inventive enough, especially in two particular cases involving beer and TinTin pajamas that lead to headaches in post-production (see tip #88).

6. No sales agent
This was a biggie. It was not until the film was well done and dusted that there was even a mention of "a sales agent" and we still didn't even know who or what it meant! In actual fact we shouldn't have even finished the first draft before organising one. By all means don't make the same mistake of neglecting to learn about this before entering production (see tip #92)


7. Gave away our budget
When we completed the film on so little -despite assurances that we couldn't do it- we thought this was a positive aspect of the production that we could use to help the profile of the film. So early press releases and film trailers mention the next-to-nothing budget. It might work for a zombie film made on £45, but for a serious village-based drama we actually shot ourselves in the foot. Since the film does not look low-budget we were selling ourselves short and giving the wrong impression. And that's exactly what happened. (see tip #14).

8. Too festival focused
Still unaware of what a sales agent was we instead focused on film festivals, mistakenly believing this would lead to more opportunities. We played the "premiere" game aiming for festivals that could premiere the film. While it wasn't a total failure, actually our time and money would have been better spent getting a sales agent and proper distribution. (see tip #92).

9. Indie distributor
We eventually settled for an indie distributor which seemed like a good decision at the time, but in reality at our present rate we are probably unlikely to make even our budget back any time soon. Personally, I think it would have been better if we had gone the self-distribution route, even though such an option has definite drawbacks (see tip #93).

10. The blog and social media
Our low budget film production blog has from the very start worn its heart on its sleeve, detailing the mistakes, agony and pitfalls of making a next-to-nothing budget film, as well as sharing what worked for us with the hope that other filmmakers might join in with more advice. Instead many fellow filmmakers have at best misinterpreted our intentions, at worst used it as a platform to launch insults and abuse (see tip #98).

So was this blog a waste of time, a mistake? Well from the positive feedback I am sure there are filmmakers who will benefit from it, as there is everything we would like to have known if only someone else had told us before we started. But the fact is that while modern web-based social media has brought everyone closer together, that also means you are brought close to some real nutters! So in all honesty, I would recommend creating and maintaining a distance when it comes to social media, as the emotional cost of dealing with on-line immaturity is sometimes just not worth it.

Tip #96: Can I protect my copyright?

By Dan Parkes (Director/editor)

It is a classic Hollywood horror story that has almost taken on mythical proportions in its retelling. Someone writes a great script and submits it to a studio. The studio replies that they are not interested. A year or so later the studio releases a film almost identical to the submitted script, except that it has now been written by someone else....

But is this something filmmakers should fear, their ideas being stolen? And what about once they have made their film, does it require copyright and some form of disc digital copyright protection to prevent piracy?

Stolen ideas
Fact: Script ideas are stolen. There is the example of Reed Martin who wrote a script and a Hollywood talent manager sent it to actors he'd liked to have in the film, including Bill Murray. After initial interest, it was eventually dropped...only for a film with an almost identical storyline and characters to be released. The film was Broken Flowers starring Bill Murray...

Of course, this is not the only example and there are regular law suits and allegations. But there could be logical reasons for this, that may not be down to plain and simple theft. There is the obvious fact that there's 'nothing new under the sun' and hence very few scripts can be labelled 'completely original'. There is also a term known as "parallel development" in which similar ideas are developed at the same time. Maybe something registered on a subconscious level in the minds of the director, producer, writer and so it not necessarily blatant stealing.

Balance is necessary
If you become paranoid about your script or idea being stolen and don't let anyone near it without having first signed a NDA etc, then the likelihood is -especially if you are a first time writer- that you will come off as extremely arrogant and overconfident and will never get your script read by those who could actually make it happen. There is an interesting blog at "Scriptxray" which states: "Your ideas will be stolen...and here’s why it's okay...As a people business where everything depends on who you know, it’s best to let your work get out there and be seen – if you don’t, its pretty much impossible to start your career." The article also mentions that "it’s actually more expensive for producers to steal a script than buying or optioning it legitimately – considering the legal fees and reputation damage." (To read more go here)

How to copyright
That doesn't mean to throw caution to the wind. There are a few simple steps to copyright your ideas and script, firstly by simply ensuring that a date, name and copyright symbol is clearly printed on your script. Although a copyright notice is not required, (work is automatically subject to copyright protection under law), displaying a notice shows that you have an awareness of copyright and take infringements of your work seriously.

You can take the extra step of registering your work, such as using a copyright service: http://www.copyrightservice.co.uk/

You can also date stamp your work by simply mailing it to yourself and not opening it. This is known as "poor man’s copyright" and there are issues and alternatives worth considering (check here)

If you are talking with a producer and they are comfortable doing it then there is nothing stopping you asking for a NDA to be signed.

Here is a copy of a NDA you can use: NDA template

DVD copright
Your artwork and the film itself can contain a copyright symbol and date, as well as a copyright warning at the beginning of the film. This can be sufficient but if you are wanting to actually prevent people from physically being able to copy your disc then this will involve CSS or Macrovision copy protection, which requires a pay per-disc royalty fee, and is something only available on professionally replicated discs.


Note: Of course this can cut both ways: Make sure you are not using copyrighted material or logos in your film or artwork (for more information check here) including the use of the DVD logo which is in itself copyrighted (more here)!

Tip #92: The truth about film festivals -get a sales agent

By Dan Parkes (Director/editor)

Of course, once your film is done and dusted the next thing you most urgently want to do is to get it out there, and maybe even pick up some awards in the process! This is when filmmakers begin searching for festivals to enter, from Cannes to the small local festivals. But it is at this point that our novice production team learned a very important lesson that we hope to pass on to filmmakers who like ourselves, innocently believe that festivals are where films are found by distributors, or where awards can be given which in turns brings attention and the possibility of distribution. Neither is really true. Although we had a reasonably successful festival round, with six official selections, six award nominations and three awards (two for best film and one for best actor) the fact is that it could have been a lot, lot better.

1. The Festival Plan
A big mistake is to just simply start entering as many festivals as possible hoping to be picked up by a big one. The problem is that we often hear stories of films screened at Sundance or elsewhere that go on to be bought my major studios. But it is just not that simple. The fact is that firstly, most of the major festivals are looking for national or international premieres -not films that have been screened elsewhere already . This can get complicated, meaning that you end up putting all your hopes on getting accepted into just one festival (so as to abide by their 'premiere' regulations), and most likely the chances of being accepted into this are very small.

The truth is that filmmakers themselves should not be entering festivals on their own... they should firstly be looking at getting a sales agent.

Ambleton Delight production team
accepting an award for Best Film.

2. The Sales Agent
To reiterate, this is the person filmmakers should be thinking about long before festivals. Nobody ever told us that until we had already started our festival round, and in my mind was the single biggest mistake we made as producers. But it was down to complete ignorance. Nobody had told us -and we had all been to various film schools- that this was a necessity, or even how it works. But we started to find it strange how our film would disappear once submitted into festivals, and how it seemed like most of the festivals had their programmes worked out already and our entering it was essentially a waste of time. Maybe that's because it was. The fact is that if you get a sales agent first then they will know the best way to market your film and thus help you with a festival plan. Of course, once you have found a sales agent willing to pick up your film you must check the fine print of any contracts or agreements made.

3. The DIY method and awards
A sales agent is not essential. There are filmmakers who would prefer the DIY option in the hope of finding a distributor however unlikely that might be, or it could come down to the fact that they have no choice. If you are careful in your selection of festivals and set a festival budget then you can have the satisfaction of knowing that your film will be seen and that it also might pick up some awards, as did our film. But if you enter film festivals without a proper sales agent then be aware that it will look 'amateur' and you are likely to only be picked up by those locally run festivals run by enthusiasts.

Ambleton Delight production team

with the Best Actor award for the film.

4. The Expense
An important consideration (and another reason for getting a sale agent to help) is that entering film festivals can get very expensive, with not only sometimes exorbitant entry fees, but also the costs of providing the materials required. Some festivals will insist on 35mm prints or HDCAM tapes, the transfer of which can rule out any ideas of entering. But you may also find that there is some local funding for putting your film into festivals -we were assisted by Screen South in our festival round.

5. The Politics and the Scams
And then there is the simple fact that many festivals -except for maybe the small amateur events run by volunteers - are more often than not rigged, driven by mostly hidden agendas, have commercial motives and objectives and in worst cases are just pure money-making scams.
For example, if you have a named actor in your film you are more likely to be picked up because then they might attend which will raise the profile of the festival.

The key issue here is that as filmmakers we should be more aware of this. Our whole industry is about creating illusions, but somehow we sometimes seem to forget that festivals are also part of the facade. On the other hand, the 'small amateur events run by enthusiastic volunteers' can be terribly unorganised and result in your film being shown at the wrong aspect ratio to a room full of empty seats!

Ambleton Delight production team
with other award winning filmmakers.

If this sounds harsh or embittered be assured that this isn't the case and we are happy with our festival round and awards. However we did meet dozens of disillusioned and upset filmmakers at many of the festivals we attended. And we know it could have been better if we hadn't entered in ignorance.

The next blog will look at the next and most asked about step... distribution.

Tip #91: Organise a premiere

By Dan Parkes (Director/editor)

It can be both a very happy and very stressful time for a filmmaker - that moment when the curtain is finally lifted on the film you have been slaving over for months and it is finally seen by an audience for the first time.

The date for the Ambleton Delight premiere was timed to launch a film festival, and hence was a date that was not going to move. It was advertised, free tickets for cast and crew arranged, champagne ordered and tickets put on sale for the public. While the film itself had been cut and effects completed, the sound mix (which was being done separately) began having delays and resulted in final touches being made literally the day before the premiere. But considering it was actually nine months from first draft to premiere, this should not be completely surprising!

Producer Itsuka Yamasaki, actor Sadao Ueda
and director Dan Parkes at the after-party.

The premiere itself was very successful, with 200 in attendance including both cast and crew, special guests and those who bought tickets. Most importantly it was a time to say thank you to all those who helped make it happen. Here are some tips we found on organising a premiere:

1. Don't leave it to the last minute. Although your concentration will likely be on completing the film you need to start thinking about the premiere from a very early stage.
2. Location. Obviously a real cinema is the best place, but it might be expensive if you are hiring it. If you can organise it to be shown in a festival then that could solve the problem. Otherwise there are many other non-cinema options you can consider. In the past we have premiered films in a library, a hotel and in a school.
3. Cast and crew. This is where it can get tricky. Make sure you have an accurate guest list that includes all cast and crew and also those who may have helped in some other way. It might be a good idea to start making this list early in the production so you don't accidentally forget someone in the last minute rush. Also, don't forget to allow each person to bring a guest.
4. The guest list. Don't just invite those who were involved in the making of the film. Also invite those from the industry and community along to make it an extra special event and to allow for networking opportunities.
5. Seating. If in a cinema you might want to allocate a special area (such as the back rows) for cast and crew. If not in a cinema you might want to make sure the seats will be comfortable enough for the duration of the film.
6. Food and drink. It is good if a glass of champagne or wine can be provided to celebrate the event. If you are unable to afford this or get it sponsored then at the very least give people a bag of popcorn!
7. Test the facilities. Don't ever premiere an event without having first tested the film on the projector and screen to make sure it will look and sound good enough.
8. Advertise. Send out invitations well in advance and if advertising tickets start looking at ways of getting your premiere known: noticeboards, flyers, posters, e-mails, newsletters etc.
9. Dress code. From experience most people like to dress up -but make sure everyone knows what is expected. If there is a very formal dress code then this may put some off -especially if they arrive without realising it is the case!
   
10. After party. many will want to network or party after the event -if this is not possible at the screening location you might want to think of what facilities are nearby that could be used for this.
11. Official photographer. It is still part of the production process -so make sure to have an official photographer to record the event.
    
12. Festivals. You might also want to think about how the premiere may impact on your festival and sales opportunities. If you have a sales agent or even distributor it is best to discuss this first with them. Also if a film is screened in one country that may make it ineligible for some festivals.
    

Main actors Jos Lawton and Kristina Anne Howell
at the after-party.

Tip #90: Have a test audience screening

By Dan Parkes (Director/editor)

As filmmakers sometimes we get too close to the film to be able to be objective about whether things are really working or not. In the previous blog we looked at how some films can have various cuts as director's attempt to rectify issues. We also listed some critical factors to look for when deciding on that final cut. But an even better method is to test your film on an actual 'virgin' audience before deciding on a finished cut.

The wrong audience
Of course it is very easy to just show it to those who were involved in the making -the cast and crew- as they are no doubt eager to have some input. While this can be a good idea, they will all suffer from that lack of objectivity that will prejudice any feedback.

They already know the story. They may have seen a lot of it being filmed and know the difficulties and issues already. Many actors do not like seeing themselves on screen, and crew such as sound recordists and cinematographers may well be very critical of their work or the way it has been represented as their reputation is at stake. Their input is all worth considering but may not be entirely helpful. Conversely, family and friends may be aware of the sacrifices you have made and so will not be as critical as you would like them to be.

The right audience
What you really need is a cross section of people who are seeing the film for the very first time -without knowledge of how it begins or ends and without any emotional connections or involved in its making. You want them to be as honest about the experience as possible. But make sure this cross section is your target audience, the correct age group especially, those who would watch this kind of film by choice, otherwise you are only asking for a negative reaction.

Word of caution
Everyone has a point-of-view and everyone is their own film critic ready and able to tell you how much better it could have been. But they may have no knowledge of the limitations or even how films are made. Unless you find a very serious issue, do you have the time and money to reshoot a scene, or write in another scene, or rerecord the music? Tailor the feedback to be more specific, to things which can be practically done to improve the film.

There is also a political and psychological factor to think about: if someone is asked to state an opinion or comment on someone's work there is sometimes a need to justify their involvement or credibility by making a point -even it if is not required or worthy. Especially is this the case when those being asked to comment are employees of a company or part of a committee -they will consciously or unconsciously want to justify their position by finding something wrong. Simply stating that it seems fine would not seem enough.

That is why some test audience's have "focus groups" which will hopefully pinpoint more specific and practical areas of improvement from a collective point of view. But beware of the proverbial "focus group endings" which have spoilt many a film due to an apparent yearning for a Hollywood conclusion!


A case in point: A focus group that watched Wolfgang Petersen's Troy (2004) apparently did not like the dramatic score by Greek composer Gabriel Yared (above). Despite the director and composer having worked hard together on it, the studio, based on the focus group's reaction, rejected the score and James Horner was brought in with only two weeks to create a replacement score. When the film was released the general consensus among many was that the film would have been much better with Gabriel Yared's version, and that it suffered overall as a consequence (although not the only reason it did so).

In the case of Ambleton Delight we arranged several test screenings. However the most important screening we organised encountered an unresolvable technical issue with the sound which meant it had to be cancelled at the last minute, a missed opportunity and embarrassing situation which I will forever regret, and which left us very little time to make adjustments prior to the premiere. In the end the premiere and festival screenings brought enough feedback which we used to create the final version of the film.

Test audiences are not always right...but they are an important part of post-production and you should employ suggestions when and if practical. But remember to not loose your artistic integrity.

Tip #89: When a final cut... is not so final

By Dan Parkes (Director/editor)

The word 'cut' is used during editing and distribution to refer to different versions of the film. Sometimes a film can have many different 'cuts' - Blade Runner famously has seven different versions of the film, including an "International Cut", the "Director's Cut" and the "Final Cut". The key difference being the removal of Harrison Ford's voice over.

But what are the differences in definition between each 'cut'? And how can we apply this to low budget filmmaking?

Here are eleven possible versions and their definitions:

1. Workprint cuts: These are the first cut, second cut, third cut and so on that the director and editor work on. A later "workprint" cut might be shown to a test audience, but otherwise these are never normally seen publicly.
2. Final cut: The finished version of the film as decided by the producers. (although now more synonymous with a certain Apple editing tool!)
3. Theatrical cut. This is the version of the film shown in cinemas
4. International cut. From the perspective of the US, a "domestic" cut means within the United States, but if for some reason a different version is required for overseas this may be referred to as an "international" cut.
5. Distribution cut DVD/Blu-ray. Once it has finished its theatrical run then when it is released to the domestic market changes might be made -previously there were "pan-and-scan" and "widescreen versions" to accommodate the fact that not everyone had widescreen TVs.
6. Censored/uncensored cut. Depending on individual territories and also classification guidelines and rulings, different versions
7. TV cut. Special versions for broadcast will also be different -maybe with offensive language or scenes edited and the pacing and end credits shorted so that it fits within a certain time slot.
8. Airline cut. There are separate versions that are altered just for airline audiences, with length and suitable content considerations. It also often involves being altered to fit the screen sizes on most airplanes.
   
9. Directors Cut. If there were creative differences with the studios sometimes the director will release their original version, for better or worse!
10. Extended cut. Maybe similar to the above, but since not all director's cuts are longer (Peter Weir's cut of his own "Picnic at Hanging Rock" is shorter)
11. Digitally Remastered. If only on celluloid and in need or repair a new digital version, with restoration, may also be released.

Of course the invention of DVDs and Blu-ray has now made it a lot easier to be able to add the different versions and endings, even providing opportunities for studios to rerelease films as part of a long-term marketing strategy (e.g. the 10th anniversary extended version). A good (or bad!) example of constant tinkering with various cuts and new editions is George Lucas' Star Wars saga.

However you are probably thinking that it is highly unlikely that a low budget feature will ever get to have so many cuts made to it. And you are probably right -unless your film becomes phenomenally successful then it will hardly merit the attention of being recut and rebranded. But the methodology here is important, as you can use the same form of analysis to ensure that the final cut is the best cut.

Here are some things to think about, especially during the work print cuts:

1. Logic -Does it make sense? Does it require something more, or maybe something less, to tell the story?
2. Pace -Are there times when it feels too long and the audience may begin to loose interest, or other scenes or cuts that are too fast. Is each and every scene necessary? Could a scene or two be dropped without affecting the story but maintaining the pace?
3. Continuity -is there something distracting from the story
4. Style -Is the editing, the colour grading, the look and feel of the film correct, or does it require further polishing?
5. Music/Audio mix. Does the music work, hinting at the emotional core, not being too overbearing. Are extra the sound effects required to add an extra layer of realism.
6. Effects shots. Are the effects shots working or are they drawing undue attention to themselves? Is there anything else to be tidied up or removed?
   
7. Mistakes -titles/credits. Are there any spelling mistakes, or omissions?

And what about Ambleton Delight? Well it went through half a dozen working cuts before having three major versions released: a premiere cut (the longest version), a festival cut (tightened version, with one scene removed) and a distribution cut (with one shot removed and a new ending, the shortest of the three cuts). The Blu-ray version is the same as the DVD (distribution cut) except that it contains the cut scenes and the full making of.

Tip #88: Get permission to include logos and artwork

By Dan Parkes (Director/editor)

It is the easiest mistake in the book, and we fell into it big time - allowing a copyrighted logo, brand or artwork to appear without permission. In our case it was a scene involving a father-and-son bonding moment, during the filming of which all our energies were focused on trying to ensure the young child would appear natural in front of camera, to the extent of overlooking the obvious: that the young boy was wearing pyjamas with a huge picture of TinTin on them! In the end the child was more than natural on camera, providing us with lots more footage than was originally scripted. The producers, notably Sinead Ferguson, on seeing how obvious the TinTin image was, questioned what the situation would be regarding clearance. With the upcoming film by Steven Spielberg on its way, we thought this might be an impossible task...

Actors Jos Lawton and Henry Page
in the 'TinTin' scene.

And it was not the first brand or logo that we had to attempt to get clearance for. Although some great efforts were made to avoid certain logos and branding in shot -either by turning the labels round or removing them completely from shot, or blurring them out by using depth-of-field in the lens- there were several companies we had to approach to get clearance, and who are consequently mentioned in the end credits.

But in some cases we knew it would be impossible. For example, there is a flashback party scene with implied drug usage, which has beer cans scattered around the room. We knew that it would be very unlikely to get permission to use a brand name in such a scene. So in the end we digitally removed the offending logos. It was not an easy task. In fact it is probably the most complex effect shot in the film. But hopefully not one that anyone notices!


The lesson here is:

• Don't include famous logos, labels, branding or artwork on props or set design without getting permission first
• If you need to include a logo and don't think you can afford or even get permission, then create an alternative version that will not be subjected to copyright
• If uncleared labels appear in shot during filming and cannot be removed or changed, turn them around, reframe the shot, or use depth-of-field to obscure them.
  
• Avoid having to digitally remove or alter labels and logos in post -it is a gruelling and sometimes unsuccessful task!

And of course another option is to not only get permission first, but use it as a funding opportunity....more about that here.

And what about TinTin? Well fortunately it has a happy ending. Producer Sinead Ferguson was able to heroically get contractual permission to include the logo direct from Herve Moulinsart who are the owners of the TinTin artwork. And so it remains one of our favourite moments in the film, for more than one reason!

Tip #87: 12 Essential FREE video production software!

By Dan Parkes (Director/editor)

Film making can be an costly exercise, but that doesn't mean everything has to be expensive. Seeing that this is our 100th post to celebrate we are listing 12 of what we think are worth having as part of your arsenal.

Click the image to go to the official website:

1. Celtx -free production software. They have recently introduced paid subscription for using its collaborative features, but if you use it in conjunction with something like DropBox you can still use it to collaborate (although it may not be as easy).


2. Dropbox An excellent collaborative tool -meaning you can instantly share files via a common folder. The free version allows up to 2GB.


3. Muvizu If you need to some 3D previsualisation for effects shots or complicated sequences, Muvizu is free software that enables users to make 3D animations.


4. Lightworks A video editing software package that was used on the film The Kings Speech and is now open source, meaning you can download a free version of it. Looks like it has some great features. It does require 'Matrox VFW' codecs and a recent version of Apple Quicktime and is compatible with Windows XP, Windows Vista, Windows 7 32 bit and Windows 7 64 bit.

5. VLC A free open source media player which seems to play just about anything and everything! Can also be used to convert between formats and works on most platforms, Windows and Mac.

6. StarBurn (Rocket Division Software) Free CD burning, DVD burning, Blu-Ray Burning software.

7. ImgBurn A lightweight CD/DVD/HDDVD/Blu-ray burning application that enables you to burn disc images with ease. We recommend using Imgburn has a better workflow for burning multiple discs as it is faster and has verification features.

8. VisualSubSync A subtitle program that facilitates subtitle synchronization by showing you the audio form. For more information on how we used it check HERE.


9. Subtitle Workshop Free subtitle software which is good for converting subtitle formats and also translation. For more information on how we used it check HERE.

10. VirtualDub VirtualDub is a video capture/processing utility for 32-bit and 64-bit Windows platforms (98/ME/NT4/2000/XP/Vista/7). We use it to help create burned in subtitles. For more information on how we used it check HERE.

11. NVU Webpage design software that we use to create the official website. For more information on how we did that check HERE.

12. FreeFilesync An Open-Source folder comparison and synchronization tool. It is optimized for highest performance and usability without restricted or overloaded UI interfaces. A great and free method of backing up files over multiple discs or computers, especially if you cannot afford expensive backup systems such as Raid.

Note: The software was free at the time of writing. Any updates to links or additional information please comment below.

Tip #86: Social networking -does it work?

By Dan Parkes (Director/editor)

Social networking, a new inexpensive means of promoting your film, has seemingly become an important part of any marketing strategy.

Kevin Smith famously used MySpace in 2006 to promote his Clerks II by putting the names of the film’s first 10,000 MySpace friends in the credits. Since Smith had 50,000 friends at the time this wasn't going to be a problem. They had the names in two hours. Clerks II apparently made a profit and now Kevin Smith has nearly two million Twitter followers.

But does it work? It is a well known fact that a film can sink or swim based purely on rumour and gossip alone. So on-line marketing via social networks is certainly one way of making a presence -and most importantly for budget filmmakers -one that can theoretically be done for free. And it must also be noted that a film is more likely to garner the attention of buyers and distributors if it has a strong on-line following.

In addition to an official website (for more information on that check our previous blog), here are the four main avenues to think about trying:

1. Facebook Page
It's a necessary evil. And very easy to set up, the important thing is to keep it regularly updated and to look not too much like it is advertising the film all the time. Post other interesting things as well.

2. Twitter
Another necessary evil! But again very easy to set up. You could have regular tweets with real time information on the production progress, promote special contests, sneak previews and have links to your other sources of on-line presence such as Facebook. But there is a danger...negative, abusive or downright stupid "tweets" could embarrass and endanger your cast and crew not to mention the film itself.

3. Blogger
Not so necessary, but an opportunity to go into more detail than Facebook or Twitter will allow. This can also be more practical -such as this blog -with anecdotes and behind-the-scenes information or a production diary. Updates to the blog can then be posted on Facebook and Twitter.

4. YouTube
Again, not completely necessary, but once you start releasing any video material this is a good place to host it for free. You could put up a production diary, making of and trailers, which you then embed into your blog and official website.

5. Newsletters/E-mails
Collecting e-mail addresses of those interested in the film and keeping them updated is also a good idea. We use the brilliant (and free) on-line e-mail marketing tool MailChimp which helps you create and maintain subscription lists, design newsletters and e-mails, send the e-mails and provides comprehensive reports on how many of your newsletters are being opened and what links are clicked.

At the end of the day though, an excellent marketing campaign for a bad film.... still makes it a bad film. So make sure you make a good film first.

If you have any good social networking and marketing ideas please post them below.