Sign Up

Discover what's new for Fall 2025

Learn More

Jason Tomaric

The Sun – A Cinematographer’s Biggest Light Source

by

Summertime is finally here, and so are challenges of shooting outdoors in the harsh summer sun. Although the winter months provide us with plenty of diffused cloud cover to properly expose out actors, the harsh, direct summer sun can be problematic when the light and shadows fall outside the contrast ratio of the camera.

In working with the sun, treat it in the same way you’d treat the key or rim light. The only difference is that you need to move the subject and camera to position the sun in the ideal location. Many times, locations are selected because of their east-west orientation, enabling the Director of Photography and 1st assistant director to schedule specific shots based on the sun’s position.

Working with sunlight begins by choosing the position of the subject relative to the position of the sun. There are two ways to approach shooting using the sun as the primary light source:

  • Use the sun as the key light – Position the actor so the sun is illuminating the far side of the actor’s face, opposite the actor’s eye line. This is much easier to do before 11:00 AM and after 4:00 PM, when the sun hangs lower in the sky. Avoid shooting near noon, because the sun tends to cast shadows on the actor’s brow, creating deep, cavernous shadows over the actor’s eyes. Use a bounce board to fill in some of the shadows, especially if the sun is too direct.
  • Use the sun as a rim light – Position the actor so the sun is positioned behind her, then use a bounce board or reflector to bounce the sunlight as the key light. I would recommend using a silver reflector available at most camera stores.

Here are some tips for getting a great shot in direct sunlight:

  • How much workable daylight is there – The 1st assistant director will look at the script and estimate the amount of time needed to shoot a particular scene, or to shoot all the scenes at one given location. He will then determine whether there is enough workable sunlight to be able to complete your shot list.
  • How much time will it take to chase the sun – Chasing the sun is a term that refers to the constant adjustments to the grip equipment needed to compensate for the sun’s movement. Reflectors, diffusion and overheads all need to be moved, which takes time and manpower. The schedule will determine whether the day will permit extensive rigging changes.
  • Are there geological or architectural features that will cut into the sunlight – Sunlight calculators provide sunset and sunrise times based on the moment the sun crests the horizon to the time the sun dips below the horizon. The actual time may vary if the sun travels behind a building or a mountain range. Often, location scouts will perform a light survey, during which they sit at a location all day and note the exact times of direct sunlight. These times are important to know when determining the daily shooting schedule.
  • Plan for lighting changes – A good director of photography will be able to plan not only camera angles to allow a consistent look of the lighting throughout the day, but determine a way to shape the changing sunlight so the look of the final footage is consistent in the scene. Often this involves flying a large 20’x20’ silk over the set so direct sunlight is diffused, then focusing the direction of the sunlight with shiny boards.
  • Be prepared for weather changes – Even the best-laid plans are subject to a cloudy day, where overcast conditions make it much more difficult to reflect light. Instead of bouncing light to increase the illumination levels on one side of your subject, DPs will use solids to reduce the light, creating negative fill on the opposite side of the actor. Whether you add light to one side or subtract light from the other, the goal is to create a consistent contrast ratio from shot to shot.
  • Make sure you have room to rig – Reflectors and overheads can take up a lot of space, so when scouting a location, make sure there is ample room to rig the necessary fixtures. Sometimes, it becomes necessary to place reflectors on nearby building rooftops, or rig overhead silks to a neighboring structure. Be sure to discuss these requirements with the location manager so she can secure all necessary permissions and permits from surrounding property owners.

Remember, the sun is a giant light source that can be diffused, bounced, reflected and blocked. With a little creativity, you can help shape sunlight to create the best possible image for your production.

Directing – It’s All In the Script

by

Although we all think of the director as exerting his or her influential on set, in reality the director’s work is mostly done well before hand in pre-production. It’s easy to get overwhelmed by the complexities of production. From working with difficult actors, to fighting the setting sun, to trying to overcome problems with the location, it’s easy to lose sight of the fragility of the emotional moment you’re tasked with creating amid this chaos. As a result, it’s always best to do your homework in a quiet environment, and look to your script for the answers.

 

Prep is where the big part of the director’s job happens. That’s where we figure out: what is this scene really about, what is the story I’m telling, what is the emotional point of view of each character, and what is the intent and obstacle of each character? Now how do I illuminate that by how I shoot this scene? Where do the characters want to be physically in the set, and how do I demonstrate that with a camera? I cut it all together in my head before I shoot a single thing, so that my screen direction will be correct. And so that I can answer any questions that an actor might have about intention, or about obstacle, or about subtext, or about point of view. I have to know it all through and through and completely, know it cold. Once I know that, I can come on set that day and throw it all away, just like an actor does, and let the magic happen.

 

– Bethany Rooney, Critically Acclaimed Director, “Brothers and Sisters”, “Grey’s Anatomy”, “Desperate Housewives”, and “Private Practice”

 

Here are a few tips to get the most from your script before you start shooting:

  • What is this scene about? Know the complete story arc of both the A-story and each subplot.  Work through how each scene moves the story forward and the narrative purpose of each scene. Determine what each character wants in each scene, where each character is going, and where each character is coming from before the scene begins.
  • How does it fit into the scene that came before and the scene that comes next? Determining this will help you design transitions to segue from one scene into the next scene.  Let the emotion, energy, and pacing of each scene guide these transitions.
  • What is each character’s motivation in this scene? Perform a character analysis for each and every scene.  You can learn more about this process in the chapter,  “Analyzing Character.”
  • What is the driving subtext of each line of dialog? Invariably, actors will ask you why their characters are saying a particular line, so be clear what each character really means, and why he or she is covering this truthful subtext with the written line.
  • What does each character really want and is he/she speaking the truth or masking it? While dialogue can seem to be a truthful representation of how a character feels, it probably isn’t.  Look at the scene to determine why the character is masking or revealing his true intentions.
  • How would you like the lighting and cinematography to serve the theme?  In addition to the performance, determine how the other creative elements of filmmaking will work to enhance the emotion of each scene.  From the blocking of the camera to sound design,  understanding how the technique can adorn the actor’s performance can greatly enhance your control of the moment.

By unraveling and understanding these three principles in advance, you’ll be able to much more effectively tackle each scene on set.

How to Shoot a Short Film

by

So, you’re thinking about shooting a short film? Short films are a terrific way of learning the process of making a movie, showcasing your talents, and generating interest from producers and investors in future projects.

Despite the educational and career benefits, there is virtually no market for short films, making it nearly impossible to see a return on your investment. While there are a few distributors who may release a compilation DVD of short films, filmmakers rarely see their money back or see distribution of a short film by itself.

If I can give one piece of advice from the years I’ve been working as a filmmaker, it is to produce several short films before tackling a feature. The process of learning how to make a movie is cyclical, meaning you have to go through the entire process at least once just to begin understanding the craft.

 

For example, much of directing stems from understanding the editing process and the way shots work together to make a scene.  Understanding just this one aspect will have a huge impact on your choices for camera placement and pacing when directing on set.

 

Don’t turn your star idea into your first film… you’ll regret it for your entire career.  Start small and learn the process with a short film, then with the second and third films, hone the craft of directing, working with actors and directing the camera.  You will know when you’re ready to take on a feature.

 

– Jason J. Tomaric, Emmy-Winning Director

 

The power of a short film is that a viewer can watch your work and see an entire story arc without a big time commitment.  This is really important in Hollywood as you start marketing your talents to producers, agents, and managers.  They are all extremely busy, and won’t have time to commit to a new filmmaker’s project without a lot of buzz.  This is why a short film is a great calling card.

  • A viewer can watch your short without a big time commitment – This will make it more likely for them to see the entire film
  • You can invest your time and resources into only a few minutes – If you have $10,000 and two months, you will produce a better quality 2-minute short film by focusing those resources on 2-minutes than on a 90-minute long feature film.
  • You have more distribution options – You can easily release your short on youTube, Vimeo, post it on blogs, and even stand a better chance of being accepted into a film festival.  It’s easier for a festival programmer to fit a 2-3 minute short film than a full feature.
  • It’s a great way to practice your craft – The only way to become a better filmmaker is to practice, practice, practice.  Shorts are an outstanding tool to craft a story in three acts, create compelling characters, and emotionally engage your audience.  If you can do it in 2 minutes, then you’ll be able to do it over a 90-minute feature.
  • They don’t have to be complicated – You can shoot a compelling story in your own living room with one actor.  Short FilmSkills aren’t about scope – they are about telling an emotionally compelling story in a short time frame.
  • Don’t expect to make your money back – There isn’t a financial model or market for short films, so when you produce one, be prepared to invest in your craft and in a great calling card.  You probably won’t see a direct return on your investment.

 

So what are you waiting for?  Get out there and shoot your short film!

Writing a Great Low Budget Screenplay

by

It’s easy to get lost in the world of your story, weaving tales of intrigue, romance, action and adventure through the lives of your characters. But as engaging as you would like that world to be, the reality of tighter budgets, fewer shooting days, smaller crews and cheaper equipment force producers to look at cheaper scripts. As a writer, it’s important to learn the balance between the story and the cost of producing it.

One of the biggest strengths you can have as a writer it to learn how to attach a price tag to each scene. Here are some pointers when writing on a budget:

  • Focus on story – not on the scale of production – Emotion is the most powerful tool you have when building a low-budget story, and the great news is that it’s free!  When you develop your project, focus on the characters, creating a conflict that inflicts as much pain on them as possible, and set-up the story to invoke an emotional journey for the audience.  Emotion will have a more powerful impact than a cast of thousands or Earth-shattering visual effects.
  • If you’re shooting a feature, keep your script at 85 pages – If one scripted page (properly formatted, of course) equals one minute of screen time, then keeping your script length down means you can concentrate your budget.  A feature film that is 85 minutes will actually sell just as easily as a 120 minute film.
  • Car scenes can be expensive – Building car rigs, or renting a process trailer to tow the hero car around is expensive, so whenever possible, write scenes that take place in a stationary car, or have your characters get out of the car and continue the conversation at their destination (or pulled over).
  • Keep your cast small – Although we would all love to have a cast of thousands, the most budget-friendly scripts have only a handful of actors.Take Shane Carruth’s “Primer,” a mind-blowing science-fiction time travel film shot for less than $10,000 with just a few actors.
  • Reduce the number of locations – You won’t just save money in location fees and permits, but time.  Each time you need to pack up the cast, crew, and equipment for another location takes valuable time out of your shooting day. Many low budget movies shoot at one location – a cabin in the woods, an abandoned building, one house.
  • Avoid night exteriors – Contrary to what you may expect, shooting at night requires a lot of light, generators and crew. A forest at night is dark, and it’s impossible to get an image, even under a full moon, so massive 18,000 watt HMI lights are positioned hundreds of feet away to simulate moonlight, while the areas of the forest in which the action takes place must also be specifically lit so the cinematographer can properly expose the actors. When in doubt, write exterior scenes for daytime.
  • Special effects take time – Even though you may have access to the best make-up effects artist from Stan Winston Studios, or a top ILM visual effects supervisor, know that on-set effects take time… lots of time. And on set, time costs money, so be aware that some producers may cut effect-s heavy sequences to accommodate the budget.

All in all, producers are always looking for next script to produce. And almost as important as the quality of the story is the price tag that comes with the script. Writing for the producer can greatly increase the chances that your script will sell.

Pro-Tip: Check out the site InkTip.com.  It’s a script brokering site that allows writers to post scripts, then vetted producers can review scripts, treatments, and outlines. Hundreds of scripts have been bought and sold over the years, and it’s a great place to either shop your script, or find a  great script for your project.

How to Block Actors On Set

by

Blocking actors is one of the main responsibilities of the director. The term blocking refers to the actors’ movements on set. We like to break blocking down into two stages – macroblocking and  microblocking. Macroblocking are the large movements an actor makes– where does he walk, where does he stop, where does he sit, when does he stand? Conversely, microblocking are small personal movements– opening of the newspaper, adjusting eyeglasses, taking a sip from the coffee mug. The balance is a dance between macro and microblocking is what creates a believable performance.

Of course the director is going to have an idea in his head how he thinks the actors are going to move with in the space, because he has been a part of the set design, where the furniture is placed, and that stuff. But I think it’s a good idea to put the characters in the space and see how they move in the space and how the tensions of the scene dictate their movements and where they move. Explore that a couple of times before you lock it in.

– Angela Nicholas – Actress, Deadwood

Choose the Best Camera for Documentary Filmmaking

by

Over the past decade, cameras have empowered filmmakers with higher resolutions, better optics, and smaller camera bodies, making them easier to carry and use in the field. But, with all the options available, what cameras should you choose? Although larger cameras can shoot better images, smaller cameras are ideal in the field since they don’t draw attention to themselves.

The good news is, people want to obsess about the camera, I don’t know necessarily it’s about the camera. It’s about the eye behind the camera, the brain behind the camera, so pretty much you can shoot documentaries, good documentaries on any camera as long as the camera is rolling and is in the right place. It’s just getting easier now because [the cameras] are getting smaller, and we don’t have to shoot film and we can edit it at home, and all that stuff. That’s the really good news.

– Dana Kupper, Cinematography, “The New Americans,” “The Trials of Muhammad Ali,” “On Beauty,” and “In the Game”

There are several factors to consider when picking a camera:

  • What is the resolution and acquisition format? – Always consider how the film will be exhibited and what format distributors will require. Many cameras today easily meet distribution requirements when shot in 1080p HD, however some distributors prefer certain CODECs over others.  For example, some broadcast stations will not accept HDV for the overly compressed signal.
  • Can it be easily packed and traveled with? – If you’re traveling on the road or by air, smaller cameras can be carried in carry-on luggage much easier than larger ENG-style cameras.
  • Will the size of the camera matter in the environment in which you’re shooting? – Are you shooting in a dangerous setting – a riot, politically unstable country or a theft-prone area? The smaller the camera, the easier it will be to fade into the background.
  • Will you need to purchase and carry multiple cameras for interviews or to split off separate teams?  GoPros, and even off-the-shelf cameras can be used to capture broadcast-quality footage, enabling you to use multiple cameras on a small budget.
  • On what type of media does the camera shoot? – The choice between tape and solid state matters depending on your shooting environment. Cameras that record to solid state media such as P2 cards, SD, and CF cards do not have any moving parts like their older tape-based cameras.  Solid state cameras can function better in extreme conditions with more reliable functionality.

How to Be an Effective Director in Post Production

by

Once a movie is complete and enters the post production phase, the director is usually exhausted and may be disappointed with the results of the footage. It’s rare in the independent world for a director to have achieved her exact vision due to time and budget restrictions. By this point in the process, it is best for the director to find a fresh editor who isn’t familiar with the movie to bring an objective eye to the project. The director should sit down with the editor and talk about her vision and the tone, style, and pacing of the movie and then leave the editor to assemble a cut of the movie on his own.

Many directors are afraid of losing control of the film by turning it over to an editor. Holding the reins too tightly is a mistake because the director is carrying a lot of baggage; she knows what scenes she likes, what scenes didn’t turn out; she knows what performances were difficult to get, what shots were time consuming to shoot; each shot is full of emotion, blood, sweat, and tears. This emotional attachment makes it difficult for the director to separate herself from the footage to assemble the shots objectively into a cohesive, well-paced story. The editor doesn’t have this emotional connection to the material and is confronted with the task of looking at the available footage and assembling it in a way that best serves the story. The director should allow him the time to do this while he relaxes and clears his mind so when an assembly cut is ready, the director can view it with fresh eyes.

  • Communicate your vision to the editor in the same manner as you would with an actor. Discuss each scene, what you want it to accomplish, how you envision the tone, style, and pacing.
  • Be open to ideas and suggestions from the editor. He is seeing the footage with fresh eyes and may have a perspective you haven’t considered yet.
  • Relax and let the editor do his job. You’re probably tired and emotionally charged from the shoot itself, so take the time to get away from the project and clear your mind while the editor builds the first assembly cut.
  • After the cut is finished, work with the editor to refine and tweak the edit until you are happy with the pacing and flow of the story.
  • Confer with others to get objective opinions throughout the editing process, but be careful which advice you listen to. Everyone will have an opinion, but not everyone will be right.

Refer to the postproduction chapters for more information on the editing process, working with composers, adding digital effects, and the audio postproduction process.

 

Unlock the Most Powerful Acting Tool – Backstory

by

A play, story, or movie is nothing more than a short glimpse of a part of a character’s life in a moment of conflict. The audience does not have the luxury of knowing the character from birth, so personality and behavioral traits, quirks, likes and dislikes, and temperaments must be derived during the short time the audience watches the character in action. An actor who plays a character must understand the character’s life up to the point the story takes place. This is called the “backstory.”

Backstory is critical to a performance because people operate on many levels, each level determined by our past. For example, a man may react when provoked in a bar fight differently if:

  1. He grew up in a poor neighborhood in a single-parent family. His father is in prison for murder and his mother is a drug addict who has resorted to a life of crime to support the family, or  .  .  .
  2. He grew up in a wealthy house where money was no object. His father is an attorney and his mother a congresswoman.

When creating a character’s backstory, determine:

  • How was the home life? What was the character’s relationship with parents, siblings, and extended family? What conflicts were there?
  • How was the character in school? What was the best memory of school? The worst memory? Was the character teased? Was he or she popular? An outcast? How did this affect the character later in life?
  • What is the character’s job history? Is he or she frustrated at work? Ambitious? Lazy? Always waiting for the big break?
  • Who are the character’s friends and enemies?
  • How did the character get to the point at which the story begins?

Although much of this backstory doesn’t appear in the script and will not appear on screen, it is critical to helping an actor determine how to play a role or how to react in a given situation if he fully knows and understands his character’s past.

Write out the backstory for every character in the story. Create a detailed character profile as if you were writing the character’s biography. In addition to broad points, create a variety of specific moments (scariest moment, happiest moment, a moment when the character experienced death) for the actor to refer to when on set.

 

How to Direct Inexperienced Actors

by

As independent filmmakers, we need to use the resources we have available.  Often times, those limitations extend to actors.  While it would be great if we could afford to hire SAG-AFTRA actors from a top agency for our projects, the reality is that we are forced to work with amateurs.  And part of the challenge of filmmaking is learning how to direct inexperienced actors.

Communicating with actors requires a finesse that will help the actors find the emotional and mental state needed to play a moment properly. Although the basics of acting seem simple, crafting the details of a performance requires a special level of trust and communication between the director and the actors.

  • Explain to the actors what production is like: slow, tedious, and repetitive. The more prepared they are for the experience, the better they’ll be. This is especially the case when working with inexperienced actors. Painting a picture of the realities of production will help them pace themselves and maintain a strong energy throughout the shoot.
  • Make sure the actors have their lines memorized before stepping on set. This will allow you to craft the subtleties and nuances of the scene without having to waste time and the actors’ energy.  Nothing is more draining than doing take after take because the actor forgot the lines.
  • Always give actors feedback on what they did correctly and what they need to change. Never begin another take without giving the actor something to work off of. Remember that as a director, you are their only lifeline, so go to them first with feedback as soon as you call “cut.”
  • Help the actors develop a purpose, or objective to attain, during the course of the shooting. “In the scene, all you want to do is get to the car, to get to the store before it closes in 10 minutes.”  That type of direction will add an underlying urgency to the moment.
  • Always help the actors stay RELAXED on set. Keep actors sheltered from any problems and issues on set. The more relaxed the actor, the better the performance.
  • Avoid saying phrases like “Just act natural” or “Just be yourself.” These phrases don’t give any meaningful insight or direction to the actor.
  • Be specific in your direction. “Hank, when Samantha approaches, don’t step back. Look her straight in the eye. It’s a challenge. Which of the two of you is in command of this moment? She thinks she is. You’re letting her know she’s not. It’s a power play.”
  • Don’t be negative when asking an actor to change a performance, but rather, put a positive spin on it. Don’t say, “I don’t want you to say that line so loud,” rather, say “Let’s try it again, but this time, try the line a little softer. I think it would be more effective in this moment because  .  .  .  .” NEVER say what they did wrong; suggest a way they could do it differently.
  • Encourage actors to remain in character, even when the camera isn’t rolling. The more comfortable they are in their role, the more convincing and real the performance will be. Set a place aside for the actors to go to between setups so they can practice their lines and prepare for the next moment.
  • The only person an actor should get advice from is the director. If crew members or other cast members feel free to give helpful acting suggestions, it will only undermine your relationship with the actors.
  • Avoid foreign dialects or accents unless an actor can speak them convincingly. Not only does a bad accent take the audience out of the moment, but it is also distracting for the actor. Often  times, he will be so focused on getting the accent right, that he won’t be focusing on the reality of the moment.
  • Be aware that working with children or animals increases the time and effort needed to get the shot.
  • The more you rehearse, the better the on-set performance. Help the actors prepare not only their lines, but also their character motivations.
  • After auditions, consider hosting a social event with both the cast and the crew to give everyone an opportunity to get acquainted with one another before you get to the set. You will find a tremendous improvement in quality and camaraderie.
  • Help the actor understand where the character was emotionally before and after the scene you are shooting. Because movies are shot out of order, it is important to establish and discuss the character arc of how a character got to this scene and where they are going after the scene.
  • Respect the fact that acting can be an emotionally stressful and trying process, especially with difficult scenes. Be sensitive to the actors’ needs and always be supportive.

Surviving Long Shooting Days on Set

by

We’ve all been on productions that seem to never end. 12-hour days turn into 14-hours, which turn into-16 hours. The shoot runs late into the night with no signs of ending, and everyone on the cast and crew is exhausted. Driving your crew into the ground is not only counter productive, it’s also dangerous.

Many non-union directors spend months – if not years – developing a project.  For them it’s a massive commitment of time and money, all enveloped by the pressure that that project could make or break their career. To the crew, it’s just another gig.  Many of the crew members came from a previous project and are going to begin work on another one, so constant late nights, bad food, or unhealthy working conditions take their toll very quickly.

As a producer, its important to maintain basic safeguards to ensure crew safety not only on set, but to and from it as well.  If you if you know you are going to be shooting late, consider the following practices to ensure a safe set.

  • Hire a wrap crew – If you’re shooting long hours, consider bringing in a second crew to help wrap up, restore the location, strike the set, and pack production equipment so that the main crew can leave on time. While this may seem like a luxury for larger budget projects, you can approach colleges and trade schools for production assistants and Interns who may be willing to invest their time.
  • Limit the length of each shooting day – Avoid shooting over 12 hours per day. The law of diminishing returns states that the longer the work day, the lower the quality of work.  When you start shooting past 12 hours, actors and crew get tired, morale drops, accidents happen, and overall productivity drops. You may “make your day,” but how good is the material you shot?
  • Ensure 12-hour turn around – Turnaround time is the time allotted from the end of a production day to the next day’s call time. Twelve hours is the recommended time to allow cast and crew the chance to drive home, sleep and prepare for the next day.  Many professional crew members expect 12-hour turnaround and may be hesitant to join a production is turnaround is any less.
  • Get hotel rooms – If shooting runs late and/or the location is too far for a reasonable commute, consider booking hotel rooms for the cast and crew.  it’s better to spend the money on cheap accommodations than risk an accident.
  • Second meal – Always provide a second meal for the cast and crew at the 12-hour mark in a production. The meal will not only help give everyone a boost, but follows industry-standard guidelines for meal breaks every 6 hours.
  • Show Dailies – Bring in dailies (the footage already shot) to show the cast and crew to help motivate them, especially if you have long shooting days. When people can see the fruits of their efforts, it always helps boots morale and re-ignite the excitement on set.
  • Pay overtime – If you can’t afford to pay overtime, show a gesture of appreciation like giving everyone a coffee gift card, especially if they are working for free or at a discounted rate. Small tokens of your appreciation are a great way to thank the cast and crew!

Overall, safety is the most important concern.  A tired crew won’t give you their best work, and will be a danger to themselves and others.  Always treat the people working with you well, and they will give the best they can to your and your production.

Need help? Contact us at info@filmskills.com or 323-886-FILM

We provide a real-world education of motion picture and television production through a series of easy-to-understand, yet comprehensive videos, workbooks and resources. By partnering with industry leaders in the creative and technological fields, we strive to teach real, cutting edge techniques to filmmakers around the globe. 

About Us

FilmSkills Academic

Platform Tools

Join our newsletter

Join our newsletter for curriculum updates, new releases, and filmmaking tutorials to help you improve the classroom experience for your students.

© 2022 Quantus Pictures, Inc. All rights reserved.

Facebook-f Youtube Instagram