Tip #82: Create a film poster

By Dan Parkes (Director/editor)

Once you have your basic film title logo sorted (refer to previous blog) then the next natural progression is to develop this into a film poster. It is good to do this as early on in the production as it can create a sense of unity and focus for production design. But ultimately remember that it is an advertisement to help "sell" your film so should indicate the mood and genre of your film in an appealing way.

Early concept poster for 'Ambleton Delight'

The early versions of the Ambleton Delight film poster reflected the state of casting at the time and how the main cast might look together. Being a drama set in an English village, the design centered round the main characters and the countryside in the background and this basic concept remained until the final official poster.

A later example of the concept poster for 'Ambleton Delight'.

Here are some elements to think of in your poster:

1. The main title/logo should be large and bold enough to catch the eye.
2. It should list some of the main cast -although this is not mandatory. But if you have a "named" actor then their contract may stipulate "top billing" meaning their name should feature prominently above the rest.
3. If your film has a "tagline" or phrase that might catch people's attention this is the place to use it. For example with Ambleton Delight our tagline is a sarcastic expression taken from a line of dialogue in the film: "Experience the delights of the countryside."
4. Cast/crew credits. Normally this is located in the lower portion of the poster and in small print. A tall type font works best. There are some free replica fonts you can download to imitate the official font used in Hollywood here: http://www.dafont.com/sf-movie-poster.font
5. Festival selection/nomination/awards. If your film has festival information worth listing you can use the laurel leaf to list this. Here is a template you can use: http://www.sonnyboo.com/downloads/images/Film_Festival_Laurel_Leaves.png
6. Film critics quotation. If your film has been reviewed then these are definitely good to include. In the case of Ambleton we included a quotation from a film festival.
7. You should create both a portrait and landscape ("quad") version -the landscape version can also become a desktop wallpaper.
   
8. Overall, does the poster make people want to see it? Does it look professional enough?

Final version of 'Ambleton Delight' poster, here seen as a"quad" or landscape version.

For some great tips and examples check this link: http://www.webdesignerdepot.com/2011/02/7-elements-of-a-great-movie-poster-design/

Here are some classic designs for inspiration....

Tip #70: Colour grading

By Dan Parkes (Director)

Colour grading or timing is the art of enhancing, correcting or sometimes completely changing the colour and look of a film.

In our case a very simple colour pallete had already been decided upon by the production designer before we started filming. The plan was for the gritty flashback scenes to be completely in black and white, and the village scenes to be in heavily saturated colour. The camera system we used was thus set to capture a heavily saturated image which meant we were able to do a lot of the colour grading in camera. In fact very little of the village scenes were colour corrected.

Black and white flashblack scene colour grading

Here are some basics of colour grading

1. Software

Many NLEs come with colour correction filters which can do basic changes. However I recommend using Synthetic Aperture's Color Finesse, as it runs as a free plugin in Adobe After Effects and is an extremely powerful tool.

Color Finesse software

2. Primary

The first step of colour correction is to set the black, grey and white. In effect this is like doing a camera white balance - you are telling the software what is pure white and black and can be used to correct an incorrect white balance. This is also an opportunity to crush blacks (make them darker) and to check levels -making sure the colour and luminance are within safety levels. You may also need to adjust the brightness of the image.

3. Secondary

Once the the whites and blacks and are all consistent you can then change the feel of the image with either broad colour changes or subtle colour replacement. A common Hollywood colour grade is teal and orange (check an interesting article on this 'virus' here (http://theabyssgazes.blogspot.com/2010/03/teal-and-orange-hollywood-please-stop.html) but also the Matrix green or the 'Saving Private Ryan' bleach bypass.

The teal and orange 'virus'

In our film the most notable secondary colour correction were the day for night shots. Otherwise most other grading was for continuity.

Tip #46: Actor's own wardrobe where possible

By Dan Parkes and Itsuka Yamasaki

There is no underestimating the importance wardrobe can have on a production, as clothes can speak volumes about a person, their personality, particular mood or character arc. But it can also be very costly if you have every member of cast being measured and fitted out in their own particular costume which may change several times during the course of the film.

Our answer was to provide wardrobe only when the actors were unable. For example, our main character John is a restaurant chef, so we purchased appropriate wardrobe including a chef's top and apron. Also, in the flashback scenes, the characters of Wayne and Andy required specific 1980s footwear and jeans, which we bought for the actors (photograph above left). Ben Rohde, who was advising us on the accuracy of the flashback scenes, also delved into his own wardrobe and found appropriate clothing from what he remembered from his experiences.

Above: Actor Brian Capron discusses his wardrobe

with production designer/producer
Sinead Ferguson and director Dan Parkes

In the case of the rest of the cast they were dressed in clothes that were readily available to them. Before rehearsals we asked them to bring along a selection of clothes they thought would be suitable for the character with some suggestions if necessary. Then at the rehearsal we would ask them to try on different clothes and take photographs and make decisions on what we think worked best, thinking about the characters state of mind and general production design issues (such as clashes with the background).

Above: Actor Andrew Elias posing in his

wardrobe during rehearsals.

In most cases we could make decisions at the rehearsal of what will work and make notes regarding this and then include a 'must-bring' on the actor's call sheet. But also some decisions were made during filming and this emphasised the need to photograph the actor in what they were wearing so as to ensure continuity matches throughout the film.

Tip #44: Use everyday props

By Itsuka Yamasaki (Producer)

Ambleton Delight is mostly contemporary so it is no surprise us recommending choosing a contemporary setting when it comes to thinking about costume and props!

1. Keep the story as contemporary as possible.
Obviously, if the budget is limited it's a lot easier to make it a modern story rather than a period drama.

2. Use what's available
In almost every case we were using real "live" locations and so used the props that were already there, such as working restaurants and kitchens. It is amazing how much this can bring to the production design.

3. Research
All of us in the production team, especially Sinéad who worked as the production designer, spent a lot of time researching to make the props and costumes as convincing as possible.

4. Ask for advise for accuracy
Our film did involve flashbacks taking place in 80's London and none of us in the production team were familiar with this setting. So we asked Ben Rhode, one of the writers who lived during this time period in London to help us to make wardrobe and props look as authentic as possible. Also on the very first day of principal photography, Ed, one of the restaurant managers helped me to present 'Ambleton Delight' in a realistic and good looking way as a restaurant would (refer to photo above left).

5. Be creative
There is a flashback scene where a person is carried on a stretcher in a hospital and a doctor and nurses are looking into the patient. First I thought, "At least a couple of uniforms and white gown, oh and we've got to hire a stretcher... how much is it going to be?" But Dan came up with this idea in which we only used white shirts, a mask and a borrowed supermarket trolley. We didn't have to spend any extra money!

6. Be organised
Ensure all important props are clearly marked in the script (production software such as Celtx can do this for you) and in the shooting schedule, so you don't have to hunt around for it on set! Then keep an inventory of props and a photographic record of how they were used on set in case of later continuity issues.

Above: Without-a-doubt the heaviest prop -the restaurant piano,
here being painfully gutted by Dan and Kieron

Tip #26: Sets that save money

By Dan Parkes (Director)

One of the secrets to keeping costs at a minimum is to use working locations, with their own sets of props, which is what we did with Ambleton, with almost all of it filmed in a working restaurant and kitchen. However, this is not always practical and in our case there were several scenes which required the building of a set, specifically the two bedrooms sets for Chris Phillips and for John and Kate. Sets have the advantage of being almost completely adaptable and can be even built around camera moves and lighting.

While studio space can be an excellent choice with some even going for as little as £100 per day (some lighting included), others can be very expensive, and you need to factor in how long you will need to hire it for creating and dressing the sets prior to filming. Preparation is essential to plan the design and props you will need.

So it was that we decided to build our set in our own living room (see picture above)! The advantages were clear... there were no hire costs (except for lighting) and we had time to dress it to make it as realistic as possible, using props from our past and every day life to add to the authenticity.

The most elaborate set was Chris' bedroom which production designer Sinéad Ferguson has already discussed in a previous post in regards to choosing props to reflect the character's state of mind. It only took us half a day to build and dress, and the end result is convincing and more importantly enabled us to achieve shots that would be almost impossible in a real bedroom of this size, such as a long tracking shot, and various POV shots.

Above: Chris bedroom set, moving furniture
and props around to get the required shot.
Very top picture: Camera operator Roger
Marshall looking happy to be on set.

The other set was even more basic, a night scene in John and Kate's bedroom involving him waking up from a nightmare. Lighting a bedroom night scene can be difficult, but we decided on using a simple blue gel over a cardboard "gobo" to give the illusion of moonlight coming in through a bedroom window, thus providing the only illumination in the scene. A 'gobo' is a word derived from "Go Between" and refers to a template or 'cookie' (cuculoris) that is put between a light source and the set which is used to control the shape of the emitted light. As the shot also required the camera to be overhead, we simply put the mattress on the floor of the set, thus allowing the camera to sit on a tripod as normal, pointed downward, giving the illusion it was in fact shooting from the ceiling. This is of course something that would have been far more difficult to achieve if in a real bedroom.

Tip #25: Keeping Production Design Costs To A Minimum

By Sinéad Ferguson (Producer/Production designer)

While there are always ways to keep the production design budget down, where possible you want to do so without limiting the creative choices that will visually enhance the story.

Samantha Bolter and John Hayden
on location in the village pub.

The best locations for production designers on a limited budget are ones that come predressed. You then may modify the layout and enhance or change the dressing with a few limited items. This may not be possible for all locations. However for sets that get a lot of screen time putting in the extra work and effort on finding those ideal locations, can in the long term, save considerable expense and work down the line.

To avoid the mistake of spending time, effort and expense on details that don’t end up being in shot, or on details the camera won’t see, good communication with the director is essential. Put all the money spent on production design on the screen, always concentrate solely on what is within the camera frame. Plan and think before you spend any money, question every decision. You may have an idea that will look great but cost a lot, so you must search for alternatives that will get the same results without costing an arm and a leg.

Low-budget production design is adjustable to the needs and resources at hand. So use what you’ve got, then beg, borrow and steal. OK I won’t go so far as to recommend stealing, but
you get the picture! You would be amazed at the amount of wardrobe, props and so on you can source from those directly involved in the project like cast and crew, not to mention family and friends, even those “friends of a friend” can be invaluable.

Actress Judith Ellis-Jones on location

in the village store shoot.

Remember that low-budget independent filmmaking is a philosophy in itself. So if you keep your mind open and the integrity of the film forefront with the right attitude and a bit of creative thinking there is no reason you have to settle for anything less than the best when it comes to your production design.

Tip# 24: Visually interpreting the characters

By Sinéad Ferguson (Producer/Production designer)

As a production designer you must create a breakdown of the characters, in the spirit of the screenwriter who created them focusing on how the aspects are translated visually. What we wear, where we work and where we live is a reflection of who we are. Therefore we must apply our understanding of the characters to order to create their environments. Each location is an environment that reveals the lives of the characters and provides an environment that surrounds and embraces the characters as the story unfolds.

There is a direct relationship between the environment and the characters. Every space has its own nature and character. One of the primary locations in the film is the restaurant and this is the environment that reflects John and Kate personalities. The “Amble Inn” while traditional and old, obviously steeped in history, also possesses subtle modern and contemporary touches that reflect and project that a younger couple lives and works there and has had a hand in the decor. The warm, inviting and comfortable atmosphere of the restaurant is also a direct contrast to the Kitchen John’s workspace ,which is almost clinical by comparison. Stainless steel abounds and it is very much a functional space, everything has its use and its place, it’s ordered and practical. The kitchen like John has a cool exterior however once you get to know them, you find that beneath that cool exterior, they are both warm and creative.

Another point worth mentioning is that not every character lives in a contemporary time frame some remain in the styles of an earlier era. As seen in Chris’ grandmothers house, in particular the living room where the colour scheme, furniture, soft furnishings, ornaments and plentiful doilies are quite dated and are reflective of the tastes of an older generation. Chris’ bedroom is also a reflection of Chris’ confusion over who he is.The room itself suggests it has remained relatively unchanged since he first moved in with his Gran as a young boy after his parents passed. We see their picture beside his bed, we see drawings he did as a teenager and a keyboard.Yet in the mix there are hints of what he aspires to be,via movie posters, a camcorder and filmmaking books.

The colour palette of the film and production design, is inspired by the village and Mother Nature herself in the surrounding landscapes. Colours abound in the English countryside. You see everything from, rich autumnal colours, piercing sky blues,stormy grey clouds, green rolling hills to the muted earthy tones of rustic lanes.

But how can you keep the design costs down to a minimum? In my final post on production design I will tell you how we did it.

Tip #23: Production design -making it look high budget

By Sinéad Ferguson (Producer/Production designer)

The problem with many low to no budget films is exactly that, they look like no budget films. Usually the entire budget has gone on cast, crew, lighting and camera equipment. Often Production Design is an afterthought or sometimes dismissed entirely with detrimental results. On big budget films money is the ultimate problem solver, throw enough money at a problem and it goes away. The challenge on a low budget film is to achieve the same result without the money.

Even a low-budget film can have effective production design by understanding the purpose and responsibilities of the craft. Often this requires a lot of time and creativity but the results look professional and polished and anything but cheap. The easiest way to make a no budget film look expensive is by getting high production value, if what you put in front of the camera looks expensive and well finished, then the audience will assume a lot of money has been spent where it hasn’t.

The job of a production designer is to find the film’s visual potential and intent and express it in the physical environment. The primary concern for a production designer is establishing an authentic physical environment in which the actors can develop their characters and present
the story. Therefore creating and providing a cohesive visual and physical context that directly informs and supports the storytelling function.

The design of a film can create a sense of place. The atmospheric qualities of the sets, locations, and environments are essential in establishing a mood and projecting an emotional feeling about the world surrounding the film. There are many tools available through production design to accomplish this task. Locations, sets, colour palettes, props, wardrobe and so on.

The next blog post will look at how to achieve this by visually interpreting the characters.

Tip # 15: Locations as characters

By Sinéad Ferguson (Producer/Production designer)

This is part one in a seven part series on finding the right locations.

We always set out to achieve a low budget film with a big budget feel. One way we did this is by immediately dispensing with the usual low budget approach of using minimum locations. Is it cheaper to have minimum locations? Yes. Easier logistically? Most definitely. But it’s visually boring... it’s bland, uninspiring and unimaginative. So if you’re not afraid of a little or in our case as it turned out quite a lot of hard work...the effort is definitely worth it and means that your final results on screen are something everyone can be proud of.

From the get go I always thought of the locations as characters in our film and they were as important and integral in the storytelling as our leads, especially considering their ever present time on screen. I absolutely consider it time and money well spent even if your budget is almost nonexistent like ours. I maintain that whatever your budget no matter how small, put the money on the screen, ie your actors and your locations.

Finding just the right locations can be a daunting task. From my perspective as both producer and production designer I had a very clear vision of what we were looking for. Understanding their importance I wasn’t satisfied with us finding locations that were anything less than perfect for our purposes. Get it right and the locations would subtlety enhance and compliment the storytelling, get it wrong and they would easily distract from and hinder it.

Ultimately finding and securing all our locations, involved countless hours doing research online, followed by innumerable hours spent in the car driving all over Sussex, add to that an almost epic amount of emails, endless phone calls, meetings, negotiating, compromising, and persuading, followed by even more convincing and eventually after all that rigmarole our locations were secured.

Easy peasy !

The next few blogs with give you some practical advice based on our experience with finding and securing locations...