Greatest Filmmakers in History

 

What Today’s Movie Makers Can Learn from the Greatest Filmmakers in History

Who are the best movie makers in history?

That question will always stir debate, because great filmmaking is not one thing. Some directors changed the way suspense is built. Some changed how stories move. Some gave us worlds we had never imagined before. Others proved that a movie can be both entertaining and deeply meaningful.

For independent filmmakers, student filmmakers, and zero-budget movie makers, studying the greats is not about copying them. It is about learning what made their work unforgettable.

Alfred Hitchcock: The Power of Suspense

Alfred Hitchcock is often called the “Master of Suspense,” and for good reason. Films like Psycho and Vertigo showed how tension can be built before anything actually happens.

Hitchcock understood something every filmmaker should remember: suspense is not just danger. Suspense is the audience knowing, fearing, or sensing that something is coming.

For low-budget filmmakers, Hitchcock is a powerful teacher because suspense does not require expensive effects. It can come from timing, silence, camera placement, editing, and what the audience is allowed to know.

Stanley Kubrick: Control the Frame

Stanley Kubrick brought a painter’s eye and a philosopher’s mind to filmmaking. Whether it was 2001: A Space Odyssey, The Shining, or A Clockwork Orange, his work showed the power of careful framing, mood, sound, and visual control.

Kubrick reminds us that every shot matters. Where the actor stands, how the room feels, how long the camera holds, and what the viewer is forced to notice can all shape the meaning of a scene.

Independent filmmakers can learn a lot from Kubrick’s discipline. Even without a large budget, you can still control composition, pacing, atmosphere, and visual intention.

Martin Scorsese: Character, Energy, and Movement

Martin Scorsese is known for kinetic storytelling and deeply flawed characters. Films like Taxi Driver, Raging Bull, and Goodfellas move with rhythm, urgency, and emotional force.

Scorsese’s films often feel alive because the camera, music, narration, and editing all serve the character’s inner world.

For a new filmmaker, the lesson is clear: do not just film what happens. Film what it feels like to the character. A scene becomes stronger when the audience can sense the pressure building inside the people on screen.

Steven Spielberg: Wonder, Fear, and Human Emotion

Steven Spielberg helped shape modern popular cinema with films like Jaws, E.T., Jurassic Park, Schindler’s List, and Saving Private Ryan.

Spielberg’s strength is not only spectacle. It is emotion. He knows how to make audiences feel wonder, fear, grief, hope, and excitement.

His work is a reminder that even the biggest movie moments depend on human connection. The shark in Jaws is frightening, but the fear works because of the people trapped in the situation. The dinosaurs in Jurassic Park are amazing, but the awe comes through the eyes of the characters.

For movie makers at any budget level, Spielberg teaches us to keep the audience emotionally involved.

Christopher Nolan: Big Ideas and Bold Structure

Christopher Nolan is known for films that play with time, memory, identity, and moral choice. Movies like Memento, The Dark Knight, Inception, Dunkirk, and Oppenheimer show his interest in complex structure and large-scale storytelling.

Nolan proves that audiences will follow challenging ideas when the emotional stakes are strong enough.

For independent filmmakers, the lesson is not that every story needs to be complicated. The lesson is that structure matters. The way you reveal information can be just as important as the information itself.

Quentin Tarantino: Voice and Style

Quentin Tarantino built a career on sharp dialogue, bold characters, nonlinear storytelling, and an unmistakable sense of style. Films like Pulp Fiction, Reservoir Dogs, and Inglourious Basterds show how personality can become part of a filmmaker’s signature.

Tarantino’s work reminds us that a filmmaker’s voice matters. Dialogue, music, pacing, and attitude can make a scene memorable even when the location is simple.

For low-budget filmmakers, this is especially important. A strong voice can sometimes do what money cannot.

Denis Villeneuve: Atmosphere and Immersion

Denis Villeneuve has become one of the most respected modern filmmakers through films like Arrival, Sicario, Blade Runner 2049, and Dune.

His work is often patient, atmospheric, and visually immersive. He gives the audience time to feel the weight of a world.

Villeneuve’s lesson for filmmakers is that atmosphere is storytelling. Lighting, sound, silence, landscape, and pacing can pull the viewer into a movie before the plot even explains itself.

Hayao Miyazaki: Imagination with Heart

Hayao Miyazaki, the legendary Japanese animator behind Spirited Away, My Neighbor Totoro, Princess Mononoke, and Howl’s Moving Castle, shows that fantasy can carry deep emotional truth.

His films are filled with magical worlds, but they are grounded in feeling: childhood, nature, courage, loneliness, kindness, and wonder.

Miyazaki teaches filmmakers that imagination is strongest when it connects to something human.

The Real Lesson for Movie Makers

The greatest movie makers did not all work the same way. Hitchcock mastered suspense. Kubrick mastered control. Scorsese mastered energy and character. Spielberg mastered emotion and spectacle. Nolan mastered structure. Tarantino mastered voice. Villeneuve mastered atmosphere. Miyazaki mastered imagination.

The common thread is this: each of them developed a clear filmmaking identity.

That is the challenge for every movie maker, whether working with a Hollywood budget, a student camera, or a zero-budget dream.

You do not have to become Hitchcock, Kubrick, Scorsese, Spielberg, Nolan, Tarantino, Villeneuve, or Miyazaki.

But you can study what they did well.

Then pick up your camera and begin shaping your own voice.

Because every great filmmaker started the same way: with an idea, a point of view, and the determination to turn moving images into something unforgettable.

What is the 20-30 Rule in Filmmaking?

 

🎬 The 20–30 Rule in Filmmaking: Mastering Invisible Cuts

In the language of cinema, what the audience doesn’t notice is often just as important as what they do. One of the essential tools editors and directors use to maintain that invisible flow is the 20–30 rule—more formally known as the 30-degree rule. This foundational principle helps filmmakers avoid one of the most distracting mistakes in editing: the dreaded jump cut.

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🎥 What Is the 20–30 Rule?

The 30-degree rule states that when you cut between two shots of the same subject, the camera angle must shift by at least 30 degrees. If the change is less than that, the two shots will appear too similar—creating a visual hiccup that feels like a mistake rather than a deliberate edit.

Some filmmakers also reference a related guideline—the 20% change in shot size (sometimes called the 20 rule). This means that when cutting between shots, you should change the framing significantly (for example, from a medium shot to a close-up) to reinforce the sense of progression.

👉 Together, these form what many casually call the “20–30 rule”:

• 30° change in camera angle
• 20% (or more) change in shot size

These two shifts—angle and scale—work together to create smooth, intentional transitions.

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🚫 What Is a Jump Cut (And Why Avoid It)?

A jump cut occurs when two shots of the same subject are cut together with minimal difference in angle or composition. The result?

• The subject appears to “jump” slightly in position
• The edit feels abrupt or accidental
• The viewer becomes aware of the editing itself

While jump cuts can be used stylistically (especially in modern YouTube or experimental film), traditional filmmaking aims for continuity editing, where cuts are invisible and the story flows naturally.

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🕰️ A Brief History of the Rule

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The origins of the 30-degree rule trace back to the early 20th century, when filmmakers were still discovering the grammar of cinema.

🎞️ Silent Era Foundations

Pioneers like D.W. Griffith helped establish continuity editing—using cuts to guide audience attention without confusion. As editing techniques evolved, filmmakers realized that small changes in camera position created awkward visual jumps.

🎬 Classical Hollywood Era

By the 1930s–1950s, the rule became part of standard practice. Studios refined filmmaking into a seamless storytelling machine, where every cut served clarity and emotional engagement.

🇫🇷 Breaking the Rules: The French New Wave

In the 1960s, directors like Jean-Luc Godard intentionally broke the rule. His film Breathless famously used jump cuts to create a raw, energetic style—proving that rules in cinema are tools, not limitations.

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🎯 Why the 30-Degree Rule Works

At its core, the rule aligns with how human perception works.

👁️ Visual Continuity

Our brains expect changes in perspective to be meaningful. A 30° shift signals a new viewpoint, helping the audience reorient instantly.

🧠 Cognitive Comfort

Small, almost-identical changes create confusion. Larger shifts feel intentional and are easier to process.

🎭 Storytelling Clarity

Every cut should:

• Advance the narrative
• Reveal new information
• Shift emotional tone

The 30-degree rule ensures each cut has purpose.

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🛠️ Practical Applications for Filmmakers

🎥 1. Dialogue Scenes

When filming conversations:

• Alternate camera positions at least 30° apart
• Combine with the 180-degree rule to maintain screen direction

🎬 2. Coverage Planning

Shoot multiple angles:

• Wide shot (establishing)
• Medium shot
• Close-up

Ensure each angle is distinct enough to cut between smoothly.

✂️ 3. Editing Strategy

If you’re stuck with similar shots:

• Cut away to a reaction shot (cutaway)
• Insert a detail shot (hands, objects, environment)
• Use motion to mask the cut

🎞️ 4. Combining with Shot Size Changes

Pair angle changes with framing changes:

• Medium → Close-up
• Wide → Medium

This reinforces the visual shift and avoids monotony.

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⚠️ When to Break the Rule

Rules in filmmaking are meant to be understood before they are broken.

🔥 Intentional Jump Cuts

Modern creators often use jump cuts to:

• Convey urgency or chaos
• Compress time
• Create a stylized, edgy feel

You’ll see this in:

• Vlogs and YouTube content
• Music videos
• Experimental films

🎬 Emotional Disruption

Breaking the rule can make the audience feel:

• Uneasy
• Disoriented
• Hyper-aware

Used correctly, this can be powerful storytelling.

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🎥 Final Takeaway

The 20–30 rule is more than a technical guideline—it’s part of the invisible language of cinema. By ensuring meaningful changes in angle and composition, filmmakers create edits that feel natural, purposeful, and immersive.

Mastering this rule allows you to:

• Avoid distracting jump cuts
• Maintain visual continuity
• Strengthen storytelling clarity

And once you understand it? That’s when you can start bending—or even breaking—it with confidence.

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🎬 GK Movie Maker Insight

Whether you're crafting a cinematic masterpiece or building scenes for your next video game-inspired project, the 20–30 rule is one of those foundational techniques that separates amateur edits from professional storytelling.

Because in filmmaking…
👉 The best cuts are the ones your audience never notices

The Effect of AI on Movie Making

 

The Effect of AI on Movie Making: A New Era for Filmmakers

As an award-winning filmmaker, I’ve spent years understanding the balance between creativity and cost. One of the most exciting aspects of AI in filmmaking is the freedom it gives creators, the ability to fail, experiment, and try bold ideas without risking thousands, or even millions, of dollars.

Growing up in the San Francisco Bay Area, I witnessed something that stuck with me for life: the filming of the final explosion scene from Bullitt, starring Steve McQueen. There were multiple film crews moving at high speed, all working to capture a single moment, the destruction of a gas station. The scale, the coordination, the pyrotechnics, it all had to be perfect. There was no room for error. I later realized that reshooting a scene like that could cost hundreds of thousands of dollars.

Now fast forward to today.

With the right input, that same explosion scene could be recreated using AI for a fraction of the cost. No physical set. No pyrotechnics. No “one shot to get it right.” Just iteration, refinement, and creative control at a level we’ve never seen before.

We are now entering the age of what I call the First Generation of Low-Budget AI Filmmakers. These creators are proving that high-quality storytelling no longer requires massive crews or Hollywood budgets. An AI-made short film like Degen, built with synthetic actors, voices, and visual effects, reportedly cost no more than a used car. That’s a seismic shift.

The Cost Revolution

Traditional filmmaking is a complex blend of art forms: acting, cinematography, lighting, sound design, music, editing, and production management. Each piece adds cost, time, and coordination. AI, however, is beginning to consolidate many of these roles into a single pipeline.

Imagine creating:

• Characters with consistent appearances across scenes
• Multi-character dialogue generated and refined instantly
• Entire environments and special effects built without physical production

It raises an important question:
Will AI do to filmmaking what the smartphone did to cameras, calculators, and music players—combine everything into one powerful tool?

Creative Freedom vs. Creative Risk

AI offers something filmmakers rarely get: freedom to fail cheaply. You can test ideas, experiment with visuals, and refine performances without the pressure of a massive budget or perfect conditions.

But that freedom comes with a tradeoff.

Are we entering a golden age of creativity, or a flood of visually stunning but emotionally empty content?

Producer Matt Zien suggests the gap between AI-generated films and traditional films could soon be indistinguishable. If that’s true, then the barrier to entry is not just lowering, it’s disappearing.

The Industry Tension

With innovation comes controversy.

AI in filmmaking has sparked serious concerns:

• Job displacement: Writers, actors, editors, and voice artists face uncertainty, leading to pushback from unions like SAG-AFTRA and the WGA.
• Ethical issues: Many AI systems are trained on existing creative work without consent.
• Deepfakes & voice cloning: Tools can replicate actors’ likeness and voices, raising questions about ownership and authenticity.
• The “uncanny valley”: Audiences can still detect when something feels off, creating a disconnect.
• Data security risks: Studios fear legal and copyright complications tied to AI training data.

Some see AI as the next evolution, like sound and color once were. Others see it as a shortcut that threatens the soul of cinema.

Where Do We Go From Here?

For first-time filmmakers and semi-pros, this moment is powerful. AI is not just a tool, it’s an opportunity. It allows you to create, test, and share stories that might never have been possible before.

But tools don’t replace vision.

The filmmakers who will stand out in this new era won’t just rely on AI, they’ll use it with intention. Story, emotion, and meaning will still matter. In fact, they may matter more than ever.

Because if everyone can make something that looks like a movie…
the real question becomes: who can make something that feels like one?

What Is a Low-Budget Movie Called?

What Is a Low-Budget Movie Called?

If you love the idea of making movies, then you are probably familiar with no-budget movie making. Long before digital cameras and editing software made filmmaking more accessible, many independent creators began with whatever tools they could afford. My own journey started with Super 8 film, silent and simple, but full of possibility. At the time, just owning a movie camera felt like holding a piece of magic, a doorway into storytelling that didn’t require Hollywood connections, only imagination and determination.

I remember saving every spare dollar to upgrade from my silent Super 8 camera to one with sound. That was the dream. The day I finally walked into Sears to buy the camera I had been eyeing for months is still vivid in my mind. To my shock, the price had somehow dropped by nearly 70 percent. It made no sense. I worried something had to be wrong with it, because such a dramatic reduction felt too good to be true.

After tracking down a salesperson and explaining my concerns, they investigated the pricing and returned with reassurance. The camera was still brand new. Nothing was wrong. The markdown was real. The reason? Sears was clearing out all its Super 8 movie equipment to make room for the new video camcorders that would soon dominate the shelves. Technology had shifted, and suddenly my dream was affordable.

Because I already had a Super 8 film editing setup at home, my only real expenses became the film itself and the cost of getting it developed. That’s when I truly learned what it meant to make movies on a shoestring. My filmmaking funds were so tight that calling it “low-budget” felt generous. In truth, it was closer to what many today would call a “no-budget film.”

So, what exactly is a low-budget movie called? The answer depends on the scale of the project and the resources used. A low-budget film often refers to a production made with significantly less money than a typical studio film, even though in Hollywood, “low-budget” can still mean millions of dollars. For independent creators, however, the terms take on a more personal and practical meaning.

A microbudget film usually refers to a production made with under $100,000, though the exact number can vary. These films rely heavily on creative problem-solving, minimal locations, limited cast and crew, and lots of passion. An ultra-low-budget film is often defined by industry standards, such as those set by SAG-AFTRA, as having a total budget under $300,000, though many come in far below that mark.

Then there is the “no-budget film,” a term often used when the project is funded almost entirely out of pocket, using personal equipment, borrowed gear, and volunteer actors and crew. These films are driven more by heart than by money, proving that storytelling doesn’t always require a massive financial engine to come alive.

The term “B movie” is also closely associated with low-budget productions. Historically, a B movie was the second feature in a double-feature screening, produced at a lower cost and with less financial risk than the main attraction. Over time, the phrase has come to represent films that may lack polish or large budgets but often possess charm, creativity, and cult appeal.

In the end, whether you call it a low-budget film, microbudget film, ultra-low-budget film, no-budget film, or even a B movie, the essence remains the same. These are movies born from passion, imagination, and the refusal to let money dictate creativity. And sometimes, as with that Super 8 camera sitting on a clearance shelf, the magic begins when opportunity meets determination. 

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by FourBusiness

 

Video Production Equipment for Beginners

 

What are some of the basics of making a good video production? One of the things I have found to be very important to video production is to always have some idea of just how long you want your finished video/film production to be. From the start are we shooting a 30-minute or a 60-minute video production? Do I need to leave some room for promotional or commercial insertions? The next important production item is the script. Does the script reflect any of the above concerns? Since the script is the glue that holds your video production together, contains dialog, music, and visual information that will eventually be shared with your lighting, set builders, and cast to bring your production idea to life on the large, or small screen.

Camera Lens
by MovieMakerGK

What format will your production be shot in? Film or Video involves two completely different forms of editing and costs or dollar amounts. Film usually is the more expensive when it comes to the editing process. Often people refer to shooting video as filming and as a rule, most video professionals are not confused by this. However, as a producer, you need to know whether you are videotaping, or actually filming because this will affect your choice of camera and budget. It also helps to know that when your production is done, and you make it to the post-production state whether you expect to have your finished production released in digital, film, form (or both:-), following the three forms of production (Preproduction, Production, Post Production) should help you solve all of the above problems.

Camera Lens
by MovieMakerGK

Another important production concern will be your sound and lighting. Nothing is more important to a director or producer than good (in focus) images, and easy-to-hear/understand sound. Depending on the format you chose to work with, or shoot with, matching great sound with great images on the screen is a trademark of a pro production. Especially since most go on to be mixed with music and other sound effects in post-production. Natural lighting is also important (where it can be accomplished). Working with artificial lighting and reflectors the goal is still the same so that the best image possible is seen on the screen.

Editing is next, no matter what format you decide on providing your post-production editor and sound department with the materials they need to complete your production is key. Good pre-production, production, and post-production will leave you with a production filmed on video that you, and your entire crew, can be proud of.

How long does it take to complete a movie?

 

Well, if you go by Hollywood standards the average time that passes between the announcement date, the date the project is publically announced, and the eventual release date, the date the project reaches the paying public and the cinema, is about 871 days or two years four months, and nine days.

The above encompasses the first day of pre-production, the first day of principal production, and the first day of post-production. Put all of the above in the hands of a, relatively well-oiled, production staff and there's another finished motion picture in the can. I have almost always functioned at the Low to NO budget end of the production scale and even though most of my video projects were headed more for the small screen than the big screen I was still able to get my film production tasks done.

I think the thing to remember is the less complicated and the shorter your film project is the easier it will be to bring your film/video production to the screen. To shoot on a minimum style budget try very hard to restrict your locations to 1 (as is only one) The more different locations you have the further about zero your budget will need to be.

The good thing about creating your own filmmaking production is that you are in complete control. Control of the shooting location ideas, the budget (if any) securing the talent, and production necessities. Filmmaking these days takes time and money and has become a giant and expensive undertaking.

So for those of you who want to get started and are working on close to zero/no budget here are some filmmaking cost-cutting ideas that have worked for me. Since just about every movie idea requires a location the cheaper the location the better. Keep in mind that if you're planning on shooting anything out in the public, permits may be required.

Shoot as much as you can without a production crew. For this, you will need to be on your toes production-wise when it comes to capturing good images and good sound. If you're lucky enough to have a production company in your area sometime if you get lucky they will allow you to shoot some or all of your production at their facility.

The key will be trying to find everything you will need to complete your filmmaking idea without having to sell everything you own. When it comes to low-budget filmmaking a friend of mine named George used to say when working with a budget that is under-low, mix the right plan with the right attitude and you'll be able to get your film done.

What's the difference between Film and Video

The difference between film and video is pretty large, even though both forms of capturing images are referred to as filming. Basically, the term film refers to a motion picture movie that is educational or artistic and photographed on film. The term video refers to motion picture images captured in digital form and stored on videotape or some other digital recording device. The film was usually meant for the big screen, while the video was usually confined to the small screen. Some advances in video camera I witnessed at George Lucus' new SF location can make it pretty hard to tell film from video on the big screen thanks to advances in video resolution. But when it comes to resolution, I still think that film has a video beat.

Overall film is usually a more expensive proposition than video when it comes to satisfying the budget requirement for some productions. Film requires a film camera with sound capabilities, film processing, and separate production equipment to view, cut, and edit the film. You will need to wait until your camera film is processed before you can see what your camera lens has captured. With a video camera, you can usually press rewind to instantly see what your video camera lens digitally recorded and if everything was in focus move on.

Film requires a film projector suited for the millimeter film you are using a suitable viewing screen and lights out! When I first started making movies back in the days B.C. (before cable) I was using a super 8-millimeter movie camera with sound, which meant I needed a super 8 mm projector, with a separate editing setup to show my mostly family horror films. This was of course after my two or three-day wait for my super 8-film to be processed by my local drug store.

With most video cameras you can simply press rewind to see what you have digitally captured right at the camera, or with the appropriate video player and a television or video monitor you can get instant real-time feedback while working on video production. Depending on the finished product you want to come up with (a roll of film, or some digital film storage that suits your need) and in some cases, both film and video both forms of artistic expression are good for communicating dramatic information, feelings, moods, and ideas.

Production Accessories

Even though today most theaters no longer play movies on film most of the movie makers I know still prefer to shoot their motion pictures on film and believe that film is still easier to edit than digital files. Digital filming is pretty much the standard these days but there are still movie makers out there, shooting on film every year. For me, the decision as to which mode of shooting is best depends on my budget. So whichever way you choose to go (Film vs Video) the thing to remember is that.

In its most basic form film is a series of still images that when shown on a screen, create an illusion of a moving image due to the phi phenomenon, like it says in Wikipedia. Scenes are photographed/filmed with the film camera and when all the principal photography and editing is done, you have a motion picture.

Video cameras use magic, electronic magic that uses optics, and electronics, to capture static and moving images electronically and while I used almost exclusively video cameras these days, I am still trying to understand the magic that makes video cameras work.

What is a wrap-party!?

 What is a wrap party?

It's a wrap---party! And, it's held for the crew and cast to celebrate the completion of filming on film or some digital format, the final production shots of a film or television program. Officially bringing to an end the production stage of the film/television project and the beginning of post-production. GK Designs was set up to be part of the post-production party fun even though we are usually contacted during the first stage (or pre-production) especially when customized post-production items are needed.

GK Designs is looking for production coordinators, and production managers in need of crew/staff ID badges, special made signs, with acrylic film and video theme awards, for any awards presentation. There are also customizable business cards, caps, and t-shirts available, ready to be imprinted with your company logo, name, or special message. We can help once you set up your invitation list for cast, crew, and if the budget allows it, the addition of spouse and guest invitations.

I realize that staying within budget is very important for the usually very detail orientated and organized production manager and program coordinator when dealing with a wrap party budget. They seem to walk a line between hosting an exceptional wrap party and operating within the allotted budget. GK Designs is ready to work with you when it comes to making the most of your party budget.

I'm aware of all the different bits and pieces that go into planning such a venture I mean besides hiring a bartender and entertainment, making arrangements for food, creating and sending invitations, choosing and reserving the right location, coming up with the proper insurance, and licenses the smoother each of these steps the better so that you, and your hard-working production crew is ready to party at the end of principal photography.

Want invitations with your production logo on them, party signs, specially made extra-large greeting cards? Give GK Designs a call or drop us an e-mail and I'll make sure the creation of your wrap party invitation is one of the no-worry items on your wrap party bucket-list tasks. It is always gratifying to reward a production crew for all of their hard work and dedication to a production project and I have always thought of a wrap-party as an excellent way for crew and cast to do some non-pressure relaxing and networking. 

Wrap parties have always been a great way for actors to shake off their character and for the cast and crew to set up potential future work for themselves before all moving on to their next project. This is a reminder that GK Designs is ready to help you with any post-production invitation and greeting card needs. 

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.

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 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 needed 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 appears on our blog.