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- How to make a music video: music video production tips
- Screenplay tips | Three-act structure
- Video lighting tips - Digital cinematography
- F-stops, T-stops, focal length and lens aperture
- Film techniques
- Stanley Kubrick film techniques
- Steven Spielberg film techniques
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- Filmmaking tips
- Lessons from my favorite film directors
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- RED camera review: my experience with the RED camera
- How to direct
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- Film lighting tips
- Shoot video with a shallow depth of field
- Camerawork tips: framing, composition, camera movement
- Camera movement: cranes, dollies and Steadicams
- Camera settings: gamma, sharpness, frame rate and shutter speed
- Video color correction: timing/grading
- Non-linear digital video editing tips
- How to make digital video look like film
- How to learn film editing and become a highly competent editor
- Directing non-professional actors
- Film lighting techniques and their effects
- Camerawork tips
- Film festival tips
- Camera movement: equipment, techniques and best practices
- Videography | Digital video tips
- Long lenses vs. wide lenses
- Shooting slow motion with camcorders: frame rates and post-production
- Film sound recording tips
- Production design and your project's color palette
- Screenplay basics
- Technical directing tips
- Role of the 1st assistant director
- Cobra Crane II review
- Why filmmaking needs lights
- Production design: controlling your project's color scheme
- Long uncut master shots in films
- The movie making process: a step-by-step breakdown
- Independent film self-distribution
- How to learn camerawork and develop a strong visual sense
- Independent film distribution tips: a guide for indie filmmakers
- Choosing between the 2.35 and 16:9 / 1.85 aspect ratios
- Zooming and zoom lens tips
- Learning about different focal lengths and the look they produce
- Film continuity
- Character arc
- Film and video competitions: a warning for independent filmmakers
- Tsunami (TMPG) MPEG-2 encoder settings
- How 3D movies work
- Logging takes, finding shots and preparing to edit a film
- Projecting films digitally in theaters (2K and 4K)
- Directing child actors: casting, motivating them and other tips
- Location sound recording, scratch tracks and re-recording dialogue in post-production
- Independent film distribution with CreateSpace
- Film casting tips
- What is HDV?
- Using the word "beat" for pauses in screenplays
- DVD burning guide
- Solving problems creatively when editing a film
- Mixing color temperatures and tweaking color balance
- Film networking
- Directing, shooting and editing projects for the web vs. the big screen
- Learning film direction, screenwriting and film editing
- Shooting aerial B-roll shots on a budget
- Royalty-free production music
- Should the look of a video be achieved by tweaking camera settings or should it be done in post-production?
- Impressive shots to add production value to an abseiling video
- Overcoming writer's block when writing a screenplay: the importance of taking right action
- Teaching screenwriting to young students
The importance of experimenting with your camcorder
One of the most valuable activities you can engage in as a filmmaker is experimentation with a camcorder. It’s completely free (once you have the camcorder) and can lead to extremely interesting and useful discoveries that you can subsequently put to good use in your projects. Think of it as Research & Development for filmmakers.
You can make fascinating discoveries about color temperature, color in general, lighting, depth of field, focal length and camera movement just by playing around with your camcorder. I am not just talking about learning the basics of camerawork and focal length — I am referring to the myriad of advanced techniques that can make a big contribution to the value you bring to a project as a filmmaker. This is the sort of stuff that they simply cannot teach you in film school (the instructors are probably not even aware of these tricks).
If you don’t own or have access to a camcorder, you should endeavor to get hold of one as soon as possible, because as a filmmaker you spend far more time in between projects than actually shooting one, and what you do in that "downtime" makes all the difference to how skilled you will be when you’re actually shooting. This is particularly true in the first few years of your career.
You don’t need the most expensive camcorder on the market. If it has a decent zoom range you will be able to experiment with focal length. The other vital requirement is a decent flip-out LCD screen, which will allow you to develop a strong visual sense. This will be a far cheaper and smarter investment than paying someone to teach you things in a classroom — filmmaking is an art and a trade, not a subject, and honing your skills is a worthwhile long-term investment.
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