Film & Digital Video Release Form

How important a release form is to your film or video production depends on how you intend to use the audio, video, or photographs your camera lens has captured? What I mean is that there are actually instances, in film and video production, where a talent or location release form may not be necessary. For example, if your work is produced for editorial purposes and you represent a news organization you don't need to worry about a release form or waver, however, if you're not a news organization you might be headed for a grey area without a waiver or release form. Even documentaries that are editorial in scope can stray into that same grey area where it might not be clear whether you need be concerned about a signed release or not, and a miscalculation could lead to a post-production snag that can prevent all or part of your work from being shown.

Who would do such a thing, you might ask? Well in one case I know of the very people who agreed to participate in your production, offering their information, location, and expertise freely at first, until you show up sometime later and try to explain to them how the simple project you put together to try and draw attention to your production skills, or your brand, has now drawn so much attention the production project they worked on had gone viral, nationwide, all over the world and we're about to be rich---so could you please sign this release so I can go accept my award?

This post explores the ins and outs of the talent and location release form and when to use a release form. There, by-the-way a happy ending to that situation referenced above, the post-release signing went well, but because they weren't sure they needed a release in-the-beginning, they had to track down the talent in the video segment to get the release form signed. (one of the signers had moved out of state) It pays to be prepared when something you worked on commercially attracts someone interested in buying your work, and among the first questions they ask is: do you have the releases for the people and the locations shown in your production? In other words, do you own all the rights to your film or video?

You want to be in a position to answer yes to questions like that so, as a rule, anyone who will appear in your film or video production, whether they have a speaking part or not, should sign a talent release form. You should also obtain consent, in writing, to use any private location's that appears in your film. Always try to be mindful of where you are shooting, some places like ballparks and amusement parks that you might think of as public places, in reality, are considered private spaces; where commercial camera work is concerned. When in doubt get a signed release and protect your future self from any future legal troubles. Another thing to be careful about is showing products in your shot. Unless you can get a signed release form from the maker of any product shown in your film/video production, especially if you can read the product label in the shot (Coke, Nike, Budweiser or any other recognizable product name) find a way to hide the product label or, even better, don't use the shot.

Make sure that anyone who signs your talent, or location release form is 18 years or older. Anyone under the age of 18 must have a parent or legal guardian sign for them. There are plenty of places online to see what a release form looks like, or download for free. I like the idea of having a release form tailored to my production needs. The reason is not every release form may apply to your production needs, so if you only deal with still photographs or audio recordings a film and digital video production release form might not fit your needs. The ideal situation would be to have your legal person go over or help you create your own production specific talent, or location release form, or waver.

Some of the things every good release form should have is a line the identifies what your release form is for (talent, private property consent, audio) a clear statement that you will have the right to sell or assign to a third party your film or video material containing the video images and any private location shown in your production. Your release form should spell out the fact that the signing is irrevocable so that you won't need to set up a two separate filing system for releases that are usable and releases that are not, your release for should also make it clear that the person signing the release knows upfront they can not terminate the agreement at any time. Noted that the release is signed by the individual appearing in the film, or the person granting consent to use a private location. Keep in mind what I said about someone under the age of 18 and you should be on your way to figuring out which release form best suits your production needs.

Unless you can prove, in writing, that you own all of the rights to the digital video or films projects you create and intend to market commercially it will be hard to get a major player like, distributor, and other media outlets, to invest in your work without the fear of being sued themselves, for accepting your work. Protect the film or video work you create with the knowledge that anything of a commercial nature (a product image) or any person that appears in front of your camera could pose a legal problem unless you take the steps to protect your work. If you can't license it, or get your talent or the person in charge of a private property location to sign a release form or wavier ( I think you know what to do) don't use that footage in a production you plan to market commercially.

Getting the Shot

This post takes a look at some of the terms involved with "getting the shot," in particular, the Cover Shot, the Master Shot, and the ever-popular C.T.O. shooting. If you have never heard these camera shot terms before then this post is for you, the newcomer or novice. This post contains the explanation for all three of the shots listed about, but let me start with this. In film and video production the word "shot" refers to two distinct parts involved in the filmmaking process, technically "the shot" represents the moment the camera starts rolling film up to the moment it stops rolling film. In video or digital camera terms that would be from the time you push the record button (recording) to the time you push the stop button, in that time you will have captured your shot.

The Cover Shot

In basic terms is the amount of footage shot and the different camera angles used to shoot a scene. Imagine setting up the cover shot for the chase scene in the Steve McQueen motion picture Bullitt where your audience will be able to see several different angles of the same chase sequence, in many cases without even knowing they're looking at the same action from a different POV (Point Of View) thanks to great editing. More cover shots for a scene will mean that there is more usable footage for your film editor to smile about as she works to assemble the final cut. In the film industry when it comes to scene footage, "it is better to have and not need---than to need and not have," as my JR. High School homeroom teacher Mr. Johnson used to say, but where Mr. M.H. Johnson spoke about that rule in more general terms I'm applying his lesson learned to film and video production, and the very important cover shot.

A Master Shot

The filming/videotaping of an entire dramatized scene from the word Action!---To Cut! (start to finish) is what makes a master shot. The master shot is usually filmed from an angle where all of the players can be seen in the viewfinder. In some of my television work, this shot was also known as an "establishing shot" which is what the master shot can sometimes double as. A long shot that keeps all of the key players in view.

C.T.O.

The last item on the shots list above, the Color Temperature Orange, or C.T.O. which is really not a shot instead refers more to the lighting people amongst us, done right as a director you can create some pretty memorable scenes shooting C.T.O., a lighting process that has more to do with the corrective gels used in lighting to convert the color temperature from daylight to tungsten or take a scene from flat to warm in screen appearance. It's the combination of all the above and knowing how and when to use them that will make your productions great. The screen, large or small, is your canvas and all of the above can help you sweeten your film and digital-cam projects enough to create the right on screen mood and keep people glued to their seats when being entertained by one of the projects you worked on, that is my hope anyway.

Location Scout

The job of the location scout is to find a location that matches, or come as close as possible to matching the location described in the script, along with any logistical information how accessible is the location to production crew and vehicles, is there electrical available on site or will you need a generator? These are just a few of the question a good location scout would be able to answer all in an effort to assist in pinpointing the exact location for a scene(s).

I'm thinking that it would be fun to be working on a big budget film as a location scout with the expense account and budget to travel the world searching out exotic locations for the blockbuster motion picture I'm sure would follow, but then again, I'm always thinking in the ideal. So let's take a look at some movie shooting locations in the bright key-light of reality. To me, a truly low budget film is basically shot in one location. Be prepared to add more zeroes to your budget with each new location you add. Unless you're shooting a major motion picture like 12 Angry Men, filmed in one location (a courthouse) with most of the scenes taking place in the jury and the courtroom, again, I refer to "the ideal," especially with all the high power talent that appeared in that the black & white motion picture 12 Angry Men.

Whether your production is locked down at one solid location, or your script calls for several different locations the job of location scout can be key to keeping your production on time and on schedule. On time because it will list your proposed shooting date(s) and the approximate hours of your shoot, and on schedule, because it should eliminate any last minuter surprises like parking, available electrical power, or perhaps the location owner's permission, in advance, to attach a piece of lighting equipment to some part of the location owner's home. (it happens!)

With nothing to slow your production roll, you can't help but stay on time, right?! Well let's just say, that would be the ideal situation. There are many sources online now-days where you can get location scouting information. You really may not need all the information I have seen crammed on to a location scouting sheet, but I suppose the more you have the fewer question about a particular location you will have, while you're setting up your camera(s) A good location scouting sheet will answer questions like: are there any fees involved for shooting, is the shooting Interior or Exterior, (or both) a route to the location, if the location happens to be hidden in the mountains. Parking fees, travel time, is there phone, or cellular service available?

What is the best day for the shoot, permit office address, police contact, the name of the property owner (especially if you have them held up in a hotel several miles away:-) In some cases, even the size of the doorways at the location, or whether or not there is an elevator can be important intel. Is there nearby construction or other unavoidable production/potential-showstoppers you might have to deal with?

Did you forget the camera, location releases, certificate of insurance---okay, I'm just messing with you. (about forgetting the camera) All of the things I have listed above and a lot more can be part of a location scouting sheet. When I first started making films, then videos, then digital I didn't follow any of the above, mainly because I didn't know about them. As my shoots grew more sophisticated and I ended up working in the industry, I learned what a lifesaver knowing as much as you can about your intended shooting location, in advance, can be to your production and your peace of mind.

I still have some of the old paper Location Scout Sheets even though my laptop holds all of my location info these days. There is also lots of other cool information about location scouting out here on the information superhighway, hopefully, you will find the above suggestions useful.

How to become a good Screenwriter

Here are a few ways to become a good screenplay writer---number one on my list is to make sure you used the correct screenplay format. I was guilty of this mistake when I first got into committing my story ideas for film/video in the spec-script-form. I made it my mission to learn everything I could about the screenplay writing format after that, and in the long run, my efforts paid off. Since that time I have read television scrips, stage play scripts each one of those scrips is unique unto itself. By the time a spec script morphs into a shooting script, you end up looking at a list of instructions for everyone in the production crew to follow. Knowing the proper screenplay script format, in my opinion, is a very important first step to becoming a good screenplay writer.

Another good quality of a good screenwriter is being able to develop productive writing habits. If there is one thing good writer do well it is to write! Every day! Good writers don't suffer from "writer's block." If their mind is not in creative mode, there are proofs to be read and writing corrections to be made in other places, on other pages, Almost every writer I know has a different way of dealing with low created energy spells, but none of them ever tells me they have run into a writer's block. Part of being a good writer, I believe is to be able to develop the ability to simply sit down and write. I am not saying write well, or write correctly, I am simply saying write. I usually get so into my writing when I'm working on a story that I need to keep writing to find out what happens next.

Another good thing for a new screenwriter to do is to read successful screenplays in your spare time, like the ones in the paperback Three Screenplays, by Barry Levinson (ISBN0-87113-435-7) that features the complete screenplays for the movies Avalon, Tin Men, and Diner or the paperback version of the screenplay for the motion picture The English Patient (ISBN 0-7868-8245-X) two of my favorites. 

Good screenplay writers are not afraid of criticism so don't be afraid to accept constructive criticism of your writing. The way I chose to get feedback on my screenplay writing was to join a small screenwriters group made up of four members from the San Jose Writer's Club where I was a member, the group met once a month. Each month one of us would duplicate and share our screenplay with the other members who would, over the course of the month, read and mark up their copy of the screenplay with suggestions, or comments. 

Naturally, I wanted to hear only positive things about the screenplay I had labored so hard to produce over that past couple of months but that was not always the case. Still, I didn't get discouraged and when something was called to my attention that I had not considered I would find a way to add or subtract the suggestion in a way that I could feel good about. The experience did teach me to think more about my audience than I had before and to take nothing for granted when it came to the development of my characters. Constructive criticism of your writing and the ability to accept or reject that criticism in a positive way is the mark of a good writer. Whatever way you chose to get some feedback on your writing will be helpful.

It's the writer's job to describe the story in detail from the mood of the characters to the physical environment the character finds herself in, remember the shooting script laundry list I mentioned above the actors, makeup artist, and gaffers are all involved in your writing. Using other ideas, or your own the driving force behind your screenplay will be you and as a screenplay writer, the willingness to accept that responsibility can usually get you paid quite well. How much money can you expect to make if you perfect all of the necessary writing skills and get very lucky? Low budget films can usually net the screenwriter $55,000 to 60,000 dollars. A comic book scriptwriter can expect an average of from $100 to $300 dollars per page (sticking with the 120-page standard). And dealing with the high budget end of the screenwriting business scale you could get paid more than $100,000 for your screenplay writing work. Good luck and don't get discouraged, I'm rootin' for you.

Royalty Free Motion Picture Sound Track

If your movie project budget won't quite let you afford a full Orchestra to play the soundtrack for your production you can still get the job done with one of the Royalty Free Motion Picture Soundtrack Music selection below. I had this problem during a documentary I was working on. Pre-production and production had gone well now entering post-production it was time to incorporate the music chosen during pre-production into the chosen scenes, and it worked, the music fits each scene like a glove. I had paid a little over $99.00 for the entire music collection which included sound effects too.

It was a combination of things that went on the make that documentary as successful as it was, but the music played a big part in creating the desired mood and adding to the overall quality of the project. I also noticed that our time in the recording studio went a little smoother too because instead of a group of highly paid musicians straining for perfection, and believe me if I was paying them I would want them to strain for that perfection. Instead, working with the Cd's and having an entire orchestra at my studio engineers fingertips I found the entire post-production exercise easy and enjoyable using my Royalty Free music library.

I started out making NO-budget films (more accurately videotape productions) In fact a friend I used to work expressed my music budget more accurately he uses to tell me that my budget was "under low." Luckily for me, I am a musician who knows other musicians and was somehow able to come up with music to fit my early projects somehow. Royalty Free Music may have been available then but it hadn't made it to my radar yet, I'm glad I know about the royalty-free production music choice now. If this helps you, you have made me smile.

Selection One

Selection Two

Selection Three

Selection Four 


If your budget is big enough---nothing beats an original music score and a live orchestra, it's just nice to know that Royalty Free Music can save the day for a low (or an under low) budget film or video project. Special note, Royalty Free doesn't necessarily mean Free Music. Almost all Royalty Free music collections have a monetary cost attached to 'em. I have seen Royalty Free Music priced from under $99.00 to over $300.00 dollars, so give the music a test drive (listen to it first).

Snowball 88, Hello World!

What is Snowball 88? It's an independent movie production written by me: Hank Gray, and directed & produced by Viquii Johannsson and, it is also the title of our new blog the---Snowball 88 Movie Maker's Blog. If you're a movie maker, screenplay writer, makeup artist, actor, or production crew pro, or semi-pro you are in the right place for news, information, and shared opportunities that will help you keep up-to-date with today's independent movie making industry. You will even find the Snowball 88 Blog a cool place to stay abreast of some of the constantly changing terms of employment in the entertainment industry as well as industry employment opportunities. Our goal is to help independent filmmakers turn a comedy of production errors into an award-winning production by sharing useful information that will help you.

I first met Miss Johannsson when I was directing television in San Jose, in the early '90s when she came to work as part of the production crew. The two of us have worked together over the years on various film and video projects and Viquii, was a part of my award-winning production A Time to be Remembered, a Juneteenth Story in the mid-'90s. The Snowball 88 Facebook site has been around for a few years and is also a good place to pick up on the independent and Hollywood industry information and insight and now we also welcome you here.

Everyone here at Snowball 88 Movie Makers has been involved in Motion Picture or Television production at one time or the other and are currently involved in film and video projects, we have all had the need for or have been a part of a film or video productions that have gone smoothly, and some that have not, some movie productions that were successful and some there were not; allowing us all to share those experiences and develop ways not only to help ourselves but help others as well. So when it comes to being involved in a film or video production, as crew, or a cast member, everything flows smoothly through all three stages of production. (pre-production, production, and post-production.)

If you enjoy writing and would like to share information about yourself, or your organization you are welcome to send your post/article to us to appear on our Snowball 88 Movie Maker's Blog. Please submit your article to us at (manager165.snowball88@blogger.com) articles should be more than 300 words, and less than 700 words, if your article is approved you will be notified when your article will appear on our blog.