Movie Producing Made Simple: Make a Short Film in 30 Days

Step-By-Step Process that simplifies making a short movie. Get IMDB credit, film festival access, experience and more!
Instructed by Leslie Lello Business / Media

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  • Lectures 106
  • Video 7.5 Hours
  • Skill Level All Levels
  • Languages English
  • Includes Lifetime access
    30 day money back guarantee!
    Available on iOS and Android
    Certificate of Completion

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Course Description

*** Last update: February 2016 ***

LEAP YEAR SPECIAL! The price of this course is $149 until February 29 in honor of Leap year

Then it is going up to $300 on March 1,

This course has BRAND NEW, UPDATED material and that material will be fully uploaded by March 1.

Buy now and enjoy the updated videos and exercises and the lower price!

Anyone can make a movie with modern technology, but most people get stuck in the process because it can be very complicated and overwhelming. There is a lot of work to creating a high-quality short movie and lack of knowledge about the process can make that work insurmountable. This course aims to overcome that challenge by providing mentorship and a clear 10-Step process to get you from beginning (desire) to end (finished movie).

Produce Your First Movie With Ease Using Fun Yet Methodical Step-by-Step Process

  • Before Pre-Production-Getting Mentally Ready and Finding Your Script
  • Pulling in All Elements During Your Pre-Production Process (Including things that lots of first-time producers overlook)
  • Being On-Set, Making the Movie, Post-Production Video Editing and Marketing

Self-Empowerment in the Entertainment Industry Starts with Making Your Own Movies

This course puts YOU in control of what type of productions you give your time and energy. This course is geared toward anyone who has ever wanted to make a movie, and is especially important to those that want to work in the entertainment industry and need reel to do so (ESPECIALLY ACTORS).

Writers, Director, Cinematographers and Actors all need to show their abilities through a reel in order to get jobs, but often they need to get jobs before they can create a reel.


This course will not only teach you to produce movies, it will give you the opportunity to pick the material that will be perfect for your reel, open you to the world of film festivals (fun, supportive and great for networking), give you a prestigious PRODUCER title, get IMDB credit and make you better at your current craft by understanding a producer's point of view, typically the person that does the hiring on productions.

How long have you been waiting for your movie career to happen? Now is time to make it happen!

All future updates to this course are free - you are "locked-in" at the current low price of $149 - you will never pay more if you enroll today at the introductory low price.

And there's a 30 day absolutely no questions asked full money back guarantee - my personal promise of your happiness and satisfaction! You really cannot lose!

What are the requirements?

  • Most people will need at least a couple hundred dollars to produce a movie. A movie budget of $1000 is recommended, but with innovation it can be done for a lot less.
  • You will need time to not only watch the course, but also do all of the pre-production, production and post-production steps. One month is recommended for the entire process, and it is advised that you clear as much as possible from your schedule aside from what is vital.

What am I going to get from this course?

  • Over 106 lectures and 7.5 hours of content!
  • Find the Perfect Script for Your Movie
  • Create a Logical Pre-Production Schedule
  • Plan a Movie Budget That Allows for Flexibility and Efficiency During the Entire Filmmaking Process
  • Execute the Last-Minute Details that Many First-Time Producers Don't Know
  • Balance the Role of Producer and Actor on Set, and Embody the Role of Producer on Set
  • Cast the Right Actors, Find a Great Crew and and Pick the Best Shooting Locations for Your Needs
  • Keep Morale High On-Set so That Your Actors and Crew Are Happy AND Working Efficiently
  • Finish the Movie by Knowing Exactly What To Do During Post-Production
  • My personal guarantee of your success. Take the course for 30 full days, risk free - there's a full, no questions asked ever refund policy!

What is the target audience?

  • ANYONE who has ever wanted to make a movie
  • Those that want more credits on IMDB
  • Actors, directors, writers, cinematographers - Anyone who needs REEL to get more work
  • Beginners Welcome, ideally with an familiarity with movies and tv through watching them as an audience member

What you get with this course?

Not for you? No problem.
30 day money back guarantee.

Forever yours.
Lifetime access.

Learn on the go.
Desktop, iOS and Android.

Get rewarded.
Certificate of completion.


Section 1: Welcome and (STEP 1) MINDSET
Welcome & Introduction
New Material!

In this lecture we talk about what it means to be a producer, and the skill you will acquire by using this course to produce your movie.


Recommended Materials: This video explains what is recommended you have with you while viewing this course and why you need it.

If you are just watching this course but don't yet have a producing project in mind, you simply need to pay attention and take notes.

If you have a project you want to produce, then we will talk about your production binder and how you will use it.

So to summarize:

Producing Later: Notebook for notes

Producing Now: Production Binders with properly labeled dividers

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PDF List of Recommended Material... specifically, how to label the dividers in your production binder.

If you are just watching this course but don't yet have a producing project in mind, you simply need to pay attention and take notes.

If you have a project you want to produce, then we will talk about your production binder and how you will use it.

So to summarize:

Producing Later: Notebook for notes

Producing Now: Production Binders with properly labeled dividers


In this video we will be talking about some of the people that this course would be good for (see course goals in Drive) and benefits of being a producer to non-producers, including actors, directors and writers, as well as for people who have never been on a movie set in their life.

In this course you will learn how to make a movie and by doing so, you will gain a number of benefits, including an IMDB credit, film festival access and credit, a producer credit next to your name, footage for your reel, a greater understanding of what it takes to put together all of the elements of a movie production, footage to show to agents and managers, and the opportunity to network with a lot of people in the entertainment industry that you might not have access to as an actor or non-producer.

You will also acquire some excellent management, project planning and multitasking skills.

Plus, producing movies is fun.

So why not take this short film making course and learn how to make your own movie, for fun or to bump your movie career to the next level?


I cannot advise a specific budget because each project is different and each person making the movie has a different tolerance for substituting creativity for money.

That being said, we talk a bit about buying scripts contracts, location permits, and releases for actors and locations.

I am not a lawyer and nothing in this course should be taken as legal advice.

In my work, I try to get things for free unless I have been provided a budget.

This requires me to think creatively on how to fulfill the needs of my movie.

So when we talk about getting crew, cast, locations, script, food, etc, I will be aiming for the lowest cost possible.

This doesn’t mean that you should do that, too. If you have the money to spend, spend it, but don’t waste it.

And keep a contingency fund. ¼ - ⅓ of your budget should be in the contingency fund, regardless of the actual budget size.

A contingency fund is defined by Wikipedia as “a fund for emergencies or unexpected outflows, mainly economic crises.”

You will be thankful when you are in the middle of shooting your movie and realize you need to buy or rent of piece of equipment at the last minute and have the money to do so because you have set that up in your budget beforehand..

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This PDF is a self assessment for you to download to see where you’re at before we get into the course, as we as where you are hoping this course takes you.

It is important to be clear on this because it will help you make decisions in line with your ultimate intentions and will also motivate you when the going gets tough.

This video gives you a rough idea of the 10 steps to this movie producing course and recommends being flexible but diligent and focused. The PDF Student Activities in this course are included to help you brainstorm options while producing and give you ideas on ways to get things for your movie that you might not have considered.

Yes, it is homework. But if you do it, it should make the producing process easier and will get you in the habit of asking open ended questions and thinking creatively when solving problems.

When you take an online filmmaking course like this one, it is easy to get overwhelmed by the details. Rather than get stuck in the process of filmmaking, I recommend that you watch the entire course once to get an understanding of the filmmaking process, and then start again with the first lecture and work your way through my ten step filmmaking process as you take action on the steps.

Also, do your best to do the steps in order, although Step 4 (casting), Step 5 (location), Step 6 (crew) and Step 7 (equipment) will probably overlap and that's ok.

Often you will find something you need for your film well before or after you are consciously working on that step, so try not to be too rigid. The steps are there to help you break down the work into manageable pieces as well as to give you a framework that reminds you of all the aspects of filmmaking that you need.

In the midst of producing, it can be easy to miss an element because you are sometimes juggling 50 little details about the movie. The steps are there to make sure you don’t miss anything in the midst of your ‘juggling’.


There are a few important aspects of filmmaking that are important to note about this online filmmaking course.

First of all, I have not gotten into the details and procedures of making a SAG-AFTRA movie. The instructions for doing so are on the SAG-AFTRA website and they do a great job of explaining it and it’s free, so there is no need for me to cover it again.

Second, this course assumes you already have your money for your short movie. There are a number of ways to raise money for a movie, from crowdfunding to self-funding and everything in between. I have always self funded my movies, except in one instance, or have produced for others that brought the money to the production.

Finally, it must be emphasized that nothing in this course is legal advice. Here is the official ‘legalese’ regarding that matter:



This document was created using a Contractology template available at

No advice

This video course contains general information about legal matters. The information is not advice, and should not be treated as such.

Limitation of warranties

The legal information in this course is provided “as is” without any representations or warranties, express or implied. Leslie Lello makes no representations or warranties in relation to the legal information on this website.

Without prejudice to the generality of the foregoing paragraph, Leslie Lello does not warrant that:

  • the legal information on this website will be constantly available, or available at all; or
  • the legal information on this website is complete, true, accurate, up-to-date, or non-misleading.

Professional assistance

You must not rely on the information on this website as an alternative to legal advice from your attorney or other professional legal services provider.

If you have any specific questions about any legal matter you should consult your attorney or other professional legal services provider.

You should never delay seeking legal advice, disregard legal advice, or commence or discontinue any legal action because of information on this website.


Nothing in this legal disclaimer will limit any of our liabilities in any way that is not permitted under applicable law, or exclude any of our liabilities that may not be excluded under applicable law.


This lecture is an overview of what we will be discussing in the section on Mindset, which is Step 1 of this producing course.

Future lectures will talk about what your intentions are for this course and for your future movie. Why do you want to make a movie? Just having this awareness will help you make decisions during the filmmaking process.

This section discusses how to “get it all done”. In other words, if you have given yourself a month to finish pre-production, there will most likely be aspects of your life that will pull you off course until you realize you have taken you focus away from your movie. This section talks about techniques to get over these hurdles of distraction, fear, perceived time shortage, etc, to help you stay focused and action oriented.

This section also covers what it means to be a producer, what a producer does and the difference and interplay of leadership and power. It is important to recognize this distinction because the aspects of leadership and power on a film production work together but are not the same.


If you do not know what a movie producer is or does, you are not alone.

Many actors arrive in Los Angeles and New York and do not know what a producer does.

In this lecture we talk about the similarities of planning a movie to planning a party in order to clarify the roll of the producer in movie-making.

By using more mundane and familiar terms (like those related to a party) you get an overview of the producing process and understand that you have probably done something very similar already in your own life, even if your efforts didn’t directly relate to film or making movies.


How to make a movie? You would think that it starts with cameras, lights, scheduling, actors, a script, etc.

But before you get into any of that, you should know why you are making this movie.

You could just be making a movie because filmmaking is fun and interesting.

If that is so, then that is your intention, and that is a fine one to have!

However, perhaps in addition to that you are seeking something more.

Are you already an entertainment industry professional or on your way to becoming one? Do you want to build your reel? Show off your acting skills? Go to festivals? Network with other professionals?

By setting intentions before doing anything else you get clear on the “whys”. By getting clear on “whys”, they will inform the “hows”.

If you are just wanting to get together with a few friends to put something together for you tube, the decisions you make along the way are going to be different than if you were an actress interested in producing to make a reel.

So before you go anywhere or do anything, write down the reason(s) you are making a movie. This will make decision making easier as you go through the process.

Oh, and if you have never made a movie before, then consider that your first couple movies are more about getting the process down. Yes, you want it to look awesome for your reel and for your audience, but you also want to get it done.

Here is a lesson from Julia Cameron’s The Artist Way: take care of the quantity right now, not the quality. The quality will take care of itself, especially as you get better at the filmmaking process. Right now, just get your movie done.

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"Markers of Success"

In this lecture you will be doing a PDF Student Activity that helps you to quantify your goals from the last exercise.

What that means is that the previous exercise was about vision, but now you are creating specific and measurable achievements so that you can assess your attainment of the more general goal or mission (or vision).


In this video we will be discussing the responsibilities of the producer.

You should print out the PowerPoint slide attached to this lecture and post it near your workspace.


With leadership comes responsibility, and if a choice should come up that is challenging, there are three parameters for basing your decision: wellness of cast and crew, financial wellness of the production, and ultimately, the wellbeing of the production and the movie itself.

You are actually serving the people that you brought on to your film by guiding the outcome. Make decisions that are best for (1) the production (2) your budget (3) your people, not necessarily in that order, but oftentimes it is in that order and if you look to what is best for the production, often that will cover what is best for the budget and the people involved, even if it is not as overt.


In this lecture we will talk about the importance of mindset when learning new skills and when confronted with obstacles during the producing process. This is especially important when in a leadership positionIt is likely you will hit obstacles when producing, especially when it is a new skill you are learning.

In the midst of any challenging situation, it is best to ask, “How can this get better? How can I make this situation better?”

If working with people, “How can we solve this?” This takes the focus off of the problem (which usually just turns into constant complaining) and focuses on moving through it.

This works by oneself or with others.

Another good question is, “What is good about what is happening right now?” Even if you can’t see it when you first ask, your mind will start to see different ways of looking at the situation that are more positive. This will help you to either see new ways to move through the issue or accept what is happening as a positive.



Gratitude. It is the most important thing on set or anywhere, in my opinion. I recently went through a Forbes Resort training where one always finishes the exchange with Thank You. Even if it feels odd, you should be thanking the people you come in contact with constantly. There is nothing more demoralizing than giving 100% on a film crew for on a low-budget production and the person you are working for not appreciate your effort. Think of “Thank Yous” as million dollar bills and you have an unlimited supply so give them away freely and with sincerity.


PDF Student Activity:

These are some tools for you to use to get your mindset in place and some supports for the process ahead of you.

I have this information in a downloadable .PDF so that you can put it in your production binder or with your class notes.

Section 2: (STEP 2) PICK A DATE to Shoot Your Project

I mentioned a contingency fund earlier and now we are going to talk about that in terms of time and planning your movie (pre-production).

If it takes 1/3 more time to build a business than what is usually expected, then that 1/3 extra time should be planned for, regardless of whether you know what that time will be used for.

What this means in terms of movie producing is planning a deadline a day or two before an aspect of your movie is absolutely needed.

Need the final draft of the script for the actor auditions on Friday? Then make the deadline for the final draft on Wednesday or Thursday, so that any hold-ups will not mess up the next step in the process.

Also, deciding how much time to allocate for pre-production can be confusing if you have never produced a movie before.

A good rule-of-thumb is to have a month of pre-production for a one to two day shoot. This will keep you moving through the movie-making steps fast enough so that you feel urgency, don’t get distracted with unimportant aspects from other areas of your life and don’t get stuck in any fear that might come up.

At the same time, one month of pre-production for your short movie allows you to schedule vital life activities (like driving your kids to school and feeding the dog) while the rest of your free time is devoted to planning your movie, rather than watching television or going to the mall for a sale, which are activities that you can resume after your movie is finished.

If you cannot be self-motivated to stay focused on your movie and finish it, an external deadline can often be very helpful. Try to find an event or deadline to aim for that requires that your movie be complete.

Perhaps you could read up on film festivals and choose one that looks awesome to you and that would be perfect for screening your movie.

HOW TO CREATE A DEADLINE FOR YOURSELF: Look for the application deadline for that film festival. That date will be your ultimate deadline, but then give yourself a week or two before that film festival deadline to actually have the movie finished because you don’t want to have to rush through editing, while thinking about the best route to take to the post office in order to get there before they close.

Going full circle, giving yourself a couple of weeks before your dream film festival deadline also gives you extra time you need, in case anything slows you down on the way to preparing your DVD for the festival.


When scheduling events for your production, you can work off of a digital calendar, such as Google Calendar or iCal, or off of a paper calendar or appointment planner.

This lecture contains a video that is a instructional screencast for the best way to use Google Calendar for your production.

I have also included a link to printable calendars if you prefer working with paper.

You may also choose to work with paper and then transfer the information to your digital calendar later (or vice versa).

If you work with paper calendars: the deadlines and scheduled events you create will sometimes change, so you may want to print out several blank calendars in case anything shifts in the midst of the producing process, but I encourage you to stick to the dates that you pick and not move things around too much.


This is your checklist for the section on scheduling the actual shoot dates of your production.

Section 3: (STEP 3) YOUR MOVIE SCRIPT is your road map to your entire movie

This overview video introduces the concept of being strategic when selecting your script, and outlines some ways we will be selecting the best script for you, considering aspects such as who will write the script, the production budget of the script, sources of good script material, ways of securing stories for your script and a detailed pattern of discussing rewrites with your screenwriter (or to get feedback if you are the writer).


This video discusses strategies to keep your movie script inexpensive to produce and shoot. It is a good idea to stay within these guidelines, especially for your first few projects.


If you are still stuck on figuring out what your movie should be about, this video explores more sources of story ideas.

Stories are all around you if you listen carefully. If you keep your mind focused on thinking, "What would be a good script for my short film?" you will soon start to see source material everywhere.

Be sure to watch the video on Optioning/Buying Your Movie Script, which should not be taken as legal advice, but is definitely a good thing to think about when seeking your screenplay.

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"Brainstorming Story Ideas"

In this PDF Student Activity, you will asked questions to help you get an idea of stories that might make good material for a movie script.


You might already have the story, but you don’t know who will write it. Here are some ideas for getting your story written.


This video should not be taken as legal advice, but optioning is definitely a good thing to think about when seeking a screenplay for your movie.

This prevents two producers from working on the same script, which is helpful. Imagine doing a year's worth of work on a feature film and then finding out a movie with the same story is being released just as you are going into production?


Here is the Wikipedia definition of Option (filmmaking):

In the film industry, an option is a contractual agreement between a potential film producer such as a movie studio, a production company or an individual, and a writer or third party who holds ownership of a screenplay. The agreement details the exclusive rights including the specified time period and financial obligations. The producer has to advance the essential elements, such as financing and/or talent, towards the creation of a film based on thescreenplay.

Similarly, producers can also option books, articles, video games, songs or any other conceivable works of intellectual property. A separate deal would be made with a screenwriter to write the screenplay. This is not an option.

Financially, the contract qualifies as an option and may be assessed using real options analysis.

The term is often used as a verb in Hollywood. For example, "Paramount optioned the short story by Philip K. Dick."


When a producer options a script, that means that the producer is paying for the option to make the script into a movie in the future, but is not ready to buy the script right now.

I believe optioning is usually an unnecessary step when you are working with SHORT MOVIE SCRIPTS and that a producer should go straight to the purchase because producing a short takes much less time.

It is my opinion (not legal advice to you) that you can skip the “optioning phase” (see below) with shorts unless there is competition for the story or you do not plan on shooting for a while. If you do choose to option the script, there should be a nominal payment to make the option legitimate (I have a friend who options feature scripts for $1) and consult a lawyer on the paperwork.


Unless you are shooting your movie with a bunch of friends, it is really important to format your script properly and in the way that professional scripts are formatted. The reason for this is that (1) people who know anything about making movies will not take you seriously if you don’t format your script correctly and probably will not want to work with you (2) a properly formatted script often gives people who know what they are doing an idea of how long your movie will take to shoot and a rough idea of the final running time of your movie.

A script that is not formatted properly will make it challenging to make accurate estimations. These estimations are important to a producer because they will tell you how long you need to schedule locations, actors, when to plan meals, etc

Final Draft and Celtx will auto format for you. They take a little time to learn but once you understand how to use them, they will help you move quickly through the writing process.

In this lecture we quickly go over the basics of Celtx screenwriting software.

It is very important that you get other peoples’ opinions on your script or the script you have written by someone else. There should be a few rewrites to the script before you finalize it and move on to step 4 (which is casting).

A good rule of thumb is to have the script read by 3 separate people, get feedback, note the changes that you frequently hear, make those changes if they feel right to you, then repeat the same process until you feel that the script is excellent.

Ignore feedback that is non-specific like, “The script was really hard to get through.” That doesn’t help. If the reader cannot answer WHY the script was hard to get through, then be polite and say thank you, but toss that opinion out of your mind as irrelevant. It is useless to you.

Usually when people criticize like that, it is about their issues, not you or your script.

Are you ready to pull out your calendar? It's time to get a solid schedule for writing (or having someone else write) your script.

This video concludes this section on finalizing your screenplay for your short movie.

Additional details about rewrites, revisions, script feedback and deadlines are contained in this video which will help you move through this step, lock down a quality final draft and move on to the next steps in producing your movie.


This section reiterates the conclusion video for the section on creating your script, with step-by-step instructions to walk you through creating a writing schedule, getting the script complete and polished and ready for your next step in the movie producing process.

You need to finish these To Dos before moving on to the next step.

Section 4: Step 4: Casting Your Project

Are you ready to cast your script?

You might already have the actors you need, or you may need to seek them out through a casting call.

In this video we talk about the upside and downside of casting friends. We talk about human nature and how that can effect the reliability of friends you choose to cast.

This section of the course will discuss the process of the casting session and audition process.


There is a nuance to seeking actors for your movie.

This video talks about elements that should be considered when you start to ponder how you want to set up your casting session including number of rolls, unique special abilities that may be hard to find, how long to give each actor, whether or not to take breaks, etc...

Also, details you need about the production before you post anything about the rolls or production.


There are several websites that will help you cast your movie.

It is especially easy if you are in a major city, but if you are not, it can seem challenging to find actors.

There are additional strategies in this video for you to use if you are in a rural area that will make finding the actors you need much easier.

This video also highlights details of your production you need to have ready when you are filling out casting information on the various casting websites.


Let's get specific on what you need to bring to the casting session. You may want to add to this list, but this is a good place to start and there may be several items on the list you have not considered.

Also, a reminder on slating your actors and organizing the casting procedure so that you can review actors after the casting session is complete.


You have now held your casting session and it is time to pick your cast from all of the actors you saw during the casting session.

Sometimes choosing your actors is based on gut instinct, which works really well for me.

But if I am not sure about which actor to cast, I have a step-by-step process upon which I base my choice for actors for my movies that has worked successfully for me most of the time.

I share my process in this lecture.


This lecture is for actors who want to get better at auditioning.

Being on the casting director's side of the table during an audition can be an eye opening experience.

This lecture explains that observation thoroughly, by using an example of a project I directed where the actor did everything wrong but still got the roll because he had unique characteristics to his audition process that caught the eye of the producer (not me), which overrode the choice of the director (me).

He was a mess on set but he got the job. From an actor's point of view, there was a great amount of learning in the process of casting a movie.

You can learn the right things to do in an audition by being part of the process from the casting director's point of view, and then incorporate that point of view into your own acting auditions.


This lecture explains the importance of reading opposite your lead actor IF YOU ARE ACTING IN YOUR MOVIE.

If you are not acting as a lead in your movie, you can skip this lecture and continue to have your casting assistant read with the actors (if you have a casting assistant, which I explain in the section on The Casting Session).

If you are playing a main roll in your movie, you should do an on camera read with the auditioners who will be playing opposite you.

This lecture explains why and how.


This lecture outlines the to-do steps for the section on Casting Your Movie, as presented in an upcoming lecture, which is the to-do list in written form.


This lecture outlines the to-do steps for the section on Casting Your Movie, as presented in a previous video lecture.

This is the to-do list in written form.

Section 5: Step 5: Finding a Location to Shoot Your Movie
Introduction to Finding Locations (Step 5)

Knowing what issues could completely mess up your shoot will put you ahead of the game and ensure a smooth shooting day. In this video get some tips on what to look for and check in a location that you would not think to check.

Leveraging What You've Got
Cost of Locations - Creative Solutions
Concluding Thoughts About Getting All Of Your Movie Locations
Location Lockdown - The Key to Making Sure That Location Is Yours!
Action Steps for FInding Locations for Your Movie
Section 6: Step 6: Your Film Production Crew
Introduction: What You Need to Know About Finding Your Crew (Step 6)
The Director
Director of Photography (AKA Cinematographer or "D.P.") and Camera Department
Sound Department
Assistant Director (AKA "A.D.")
Make-Up Artist
Script Supervisor
Production Designer
Production Assistant (AKA "P.A.")
Film Editor / Video Editor
Finding Your Film Crew - Build a Great Team with These Strategies
Concluding Thoughts Regarding Your Film Crew
Action Steps for for Finding and Organizing Your Crew
Section 7: Step 7: Equipment
Understanding Equipment as an Actor / Producer
Camera, Accessories and LIghts
Sound Equipment
Why is a Clapboard is a Very Necessary Tool for EVERY Production?
Concluding Thoughts for Locking In Equipment
Action Steps for Getting The Equipment You Need for Your Movie
Section 8: Step 8: One Week Before the Shoot
Introduction to Your Last Week of Pre-Production (Step 8)
A great CRAFT SEVICE table is an excellent way to build good rapport!
Three Square Meals
Wardrobe and Props
Numbering Shots and Scenes
Two Days Before the Shoot
The Logistics Email - VERY IMPORTANT - Confirming the Details with Cast and Crew
Food Preferences & Allergies/Safety on Set - The Secret to Great Work Conditions
One Day Before The Shoot
To-Do List for the Final Week of Pre-Production
Section 9: Step 9: Principal Photography and the Day of the Shoot
Introduction: "On The Day" - Principal Photography and The Day of Your Shoot
Juggling Producing & Acting On Set - They Fit Together if You Did Your Homework
Morning Tasks Before People Arrive
Shooting The Movie - What to Do When Cast and Crew Arrive and Start to Work
Clean-up and Striking the Set
Principal Photography: The Second Day and So on...
Principal Photography: Concluding Thoughts to Get You Through The Process
Section 10: Step 10: Post-Production
Post-Production Introduction: The Diverse Activities After Your Movie Is Shot
Editing Your Movie

Instructor Biography

Leslie Lello, Producer/Director - Photographer - Videographer

Leslie Lello is a New York native and an award-winning Producer/Director.

She has been bi-coastal and working in various capacities in the film, media and the entertainment industry for over 15 years.

She started her career as an actress, but quickly found herself behind the camera as a Chandra Wilson’s (ABC’s Grey’s Anatomy) personal assistant.

Since then, Leslie has directed and produced & directed a number of movies, several of which have appeared at film festivals across the country.

Most recently, she has been freelancing as a photojournalist and videographer, and produced and directed the documentary "New Jersey 350" which has screened at several festivals and won several awards.

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  3. 3 Stars
  4. 2 Stars
  5. 1 Star
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