EDITOR’S NOTE: Here it is. The third chapter in Laura’s series on the making of her very, very, very popular – over 3 million views – interweb series hit The Vamps Next Door.
Man Up, Kid Cause This is Gonna Hurt…So Good
by Laura Conway
Deciding to make your script into a web series means it’s no longer just about you, it’s about a collaboration with others. If you’re controlling and obsessive over your writing like I am, let me warn you that the first time is going to hurt. (but no pain, no gain)
Before any casting is done, find a director because directors need to be a part of the casting process. Unless you’ve got experience directing, I don’t think you should direct your own episode. It’s harder than it looks.read article
One of the brightest of hidden interweb treasures is Microbudget Film Lab’s series of videos covering all aspects of teeny budget filmmaking, both practical and creative. What a pleasure to have found this channel! And to share this examination asking (and letting you answer for yourself) this important and often intimidating question:
Is it better to try and get a distributor or sales agent – or to go it alone and use one of the many DIY distribution platforms?
EDITOR’S NOTE: Ah, the second chapter in Laura’s series on the making of her very, very, very popular – over 3 million views – interweb series hit.
MAKING A BUDGET AND FINDING CASH FOR YOUR WEB SERIES
by Laura Conway
The first thing I do is accept that I won’t make back a single penny of what I’m going to spend and be OK with that. Then I find some cash.
One way to find financing is by telling as many people as you can about the project. Network like crazy. You will find people who want to help you. Unless you’re an asshole and nobody likes you. The road of life is lined with bridges.read article
Just your typical grad school hallway – dressed to look like it went thru an apocalypse
by Bri Castellini
You can have the most incredible, dedicated cast and crew in the world, the best equipment, and an Oscar-worthy script, but if you don’t have places to actually film, none of that matters. Luckily, it can be easier than you might realize to scrape together adequate locations to bring your concept to life.
First, a reminder from my column about pre-production, relating to the considerations you should keep in mind when scouting potential locations:
Have you seen the location during the time of day you will be filming? Scouting is so, so important, meaning that you take your director and, preferably, your sound person and DP, on a tour of the location to get everyone on the same page and to experience what a day of shooting might look like. Sometimes, a location is great, but there isn’t enough space for a tripod, or there’s a particularly loud exercise group nearby at the exact time you’d want to film your scenes.
How easy is this location to get to? How close to public transportation is it, or is there sufficient parking availability?
Is there ambient sound that will cause problems? This means everything from crowds to a refrigerator you can’t turn off, to traffic, to a construction site nearby.
Is there enough space for the camera and crew? Remember, there will be quite a few people behind the camera as well as in front of it, all of whom need to be hidden from view. Sometimes these problems can be addressed if you’re able to move the furniture around to accommodate, but if the space isn’t yours, ALWAYS ASK.
Where is the nearest bathroom? This is especially a concern for outdoor shoots.
Is there another area nearby you can use for “holding?” Holding is just an area, preferably away from where the actual filming is taking place, for cast and crew to hang out when they’re not needed. Even during breaks, try to take them away from set, otherwise, you risk production design or continuity.
Will this location be available again for reshoots or for multiple shooting days? You’ll frequently end up filming multiple days in a single location, so you need to make sure a location is available for as long as you actually need it.
How much control do you have over the space? Can you control lighting/rearrange furniture/put up posters and set decorations? Can you redirect traffic or tell people in other rooms to pipe down? Does one need licenses or other approval for outdoor scenes? Do they need to be prepared to lie to cops? The more control you have over the variables, the better a location is going to be. Otherwise, you better be good at improv.
