Movie Producing Made Simple: Make a Short Film in 30 Days
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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!
Bestselling
4.4 (27 ratings)
Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings.
929 students enrolled
Created by Leslie Lello
Last updated 7/2017
English
Current price: $10 Original price: $200 Discount: 95% off
5 hours left at this price!
30-Day Money-Back Guarantee
Includes:
  • 5.5 hours on-demand video
  • 8 Articles
  • 36 Supplemental Resources
  • Full lifetime access
  • Access on mobile and TV
  • Certificate of Completion
What Will I Learn?
  • 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!
View Curriculum
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.
Description

*** Last update: July 2017 ***

This course has BRAND NEW, UPDATED material as recent as July 2017!


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 a 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.

IT'S A CATCH 22!

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!

Who 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
Students Who Viewed This Course Also Viewed
Curriculum For This Course
130 Lectures
06:11:31
+
Welcome and (STEP 1) MINDSET
20 Lectures 35:46

Welcome & Introduction
00:43


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.

At The End Of This Course You Will Be Able To...
02:06

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

What You Need For This Course
02:57

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

PDF List of Binder Dividers for Production Binder if You Are Producing Now
1 page

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?

Preview 03:46

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..

Preview 03:35

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.
PDF Student Activity: Self-Assessment
1 page

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’.

Preview 02:07

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:

LEGAL DISCLAIMER

Credit

This document was created using a Contractology template available at http://www.freenetlaw.com.

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.

Liability

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.

Preview 02:02

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.

(STEP 1) MINDSET: Introduction
01:25

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.

What does a Movie Producer do?
02:11

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.

Reality Check: Intentions & Goals for Your First Movie - Quantity vs. Quality
01:20

"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).

PDF Student Activity: Quantify Your Goals
1 page

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.

Producer Responsibility = EVERYTHING!
01:40

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.

The SECRET to Leadership and Making Decisions for greatest filmmaking success
01:34

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.

.

How to get Better at Everything
02:20

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.

Two Magic Words: You Have Unlimited Supply 2 Million Dollar Words so Give Freely
01:00

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.

(STEP 1) MINDSET: To Dos / Action Steps for Optimum Mindset for Making a Movie
00:44
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(STEP 2) PICK A DATE to Shoot Your Project
3 Lectures 07:45

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.

Preview 01:43

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.

SCREENCAST: Google Calendar: Instructions for Adding Calendar Category
04:02

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

This is the to-do list in PDF written form, which you can download in the resources area for this lecture.

Your shoot dates should be selected before moving on to the next step.

(STEP 2) PICK A DATE: To Dos / Action Steps: SCHEDULING for Your Movie Project
02:00
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(STEP 3) YOUR MOVIE SCRIPT is your road map to your entire movie
11 Lectures 35:08

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).

Introduction to Selecting a Script for Your Movie (STEP 3)
01:10

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.

Preview 05:26

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.

Script Story Ideas and Unconventional Movie Story Sources
04:14

"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.

PDF Student Activity: Brainstorming Story Ideas
1 page

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

Who Will Write the Script?
01:19

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.

Optioning/Buying Your Movie Script for $1.00! Make sure that it is YOURS!
04:31

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.

Formatting A Script: Show you care about looking professional with proper format
02:17

In this lecture we quickly go over the basics of Celtx screenwriting software.
SCREENCAST: Celtx: Instructions for Formatting Script in Celtx
08:06

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.
Rewriting a Script and Getting Feedback on your or someone else's writing
01:56

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.

Pre-Production Time Frame: Going From Script Idea to Locked Final Draft Script
04:45

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.

This is the to-do list in PDF written form, which you can download in the resources area for this lecture.


(STEP 3) YOUR MOVIE SCRIPT: To Dos / Action Steps
01:24
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(STEP 4) CASTING ACTORS IN YOUR MOVIE
15 Lectures 33:42

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.

Introduction to Casting a Movie (STEP 4)
04:13

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.

Setting Up the Casting Session
02:16

There is no set amount of time that is best to cast a project. Time allotted to casting is based on your schedule, the amount of money you have to rent a room (if you are using one in which you have to pay) and the number of rolls you have to cast.

I would give each auditioner 3-5 minutes. In fact, 5 minutes can often be too long. Sometimes you get into cool conversations with the actor and the audition will take longer. This is a good thing because it shows you and the actor have rapport which will be a good thing on set.

Often there are a few no-show that will balance out the long conversations, so I would schedule each actor for a 3-5 minute slot with a 5-10 minute break at the end of each hour to catch up/go to the bathroom/have a snack.

I usually bring in approximately 20-30 people for each roll. That works out to approximately two hours of auditioning per roll. If you still do not find anyone for a roll, you can always hold another casting session.

No sense in holding a 5-hour casting session for one roll if the first actor who walks in is perfect for the part.

How much time do I have to devote to casting?
02:09

In this lecture we will be brainstorming options for locations for your casting session.
Preview 03:01

In this video we will be talking about the dates that you need to solidify before holding the audition.

These dates might shift around a bit, but hopefully not because much of your actor and crew selection relates to who is available for all of the required production days.

Production Details: When are shoot dates and other rehearsals / required events
03:03

In this lecture we will be talking about the typical actor compensation for a low budget or no budget movie.

When I offer the actor the part, I like to provide a simple contract, even in informal settings.

This is to protect both parties and, more important, make sure that everyone is seeing eye-to-eye on expectations.

One of the important things to mention in the contract is compensation for their performance.
What is the compensation for the actors for providing their services?
02:43

Before you post anything about your movie anywhere to find actors, you need to have a clear idea of what you are looking there and then convey that in a character description.

It is easiest to prepare this beforehand, ideally in a text document, so that you can just copy and paste the information whenever necessary.


This is especially helpful when posting in multiple places, like several casting websites or printing out a casting request at local theaters.

Character Descriptions: Which roles am I casting and do I have it written?
01:58

In this lecture we are going to visit a couple of casting websites that are popular in the larger entertainment cities (Los Angeles and New York).

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.


Finding Actors - The BEST Place To Find Actors For Casting Sessions!
02:42

In this lecture you will be working on solidifying all of the information for your project to be presented to actors, posted on bulletin boards and on casting websites and distributed to the public in order to find your actors.
PDF STUDENT ACTIVITY: Getting Clear on Casting Information
1 page

In this lecture we will be doing a screencast of a walkthrough to use Now Casting, including signing up for an account, entering the production information and adding specific information about each roll in your movie.
SCREENCAST: Now Casting: Casting Website Example Instructions
00:22

Here is my own list of things I bring to my casting sessions.

PDF: What to bring to your casting session
1 page

To make the greatest use of your time at the casting session, it is good to get there early, set things up, and know how to efficiently conduct the flow of actors.

Also, a reminder on slating your actors.

The Casting Session
04:57

I generally lean toward NOT casting friends in my movies without an audition unless it is a theater group that I have been working with for a while.

If it is NOT a theater group but just an individual friend that I know socially, I require the actor to audition. The reason I do this is because you want the actor to appreciate the roll because they will work harder at doing a better job at it. If you just hand it to them without work, it is likely that even a close friend with the best acting skills will “phone it in”. This has happened several times for me and I have become quite strict about this policy regarding casting.

Ultimately you have to do whatever works for you, but this is what I have learned after 10 years of casting. If you hire your friends to act in your movie, here are some questions to ask yourself about them.

Should I cast my friends?
02:39

In this lecture I share my process for selecting actors for my movie after the casting session.

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.

But what happens after the casting session? If you have not already made a decision about which actors you want to cast, here are some methods to work through the decision making process and also the next steps with contacting the actors, letting them know they have the roll, and confirming that they are able to do the roll.

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.



Decision Time: After The Casting Session
03:26

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 PDF written form, which you can download in the resources area for this lecture.

Try to finish as much as possible before moving on to the next step. You might still be looking to fill a couple of rolls in your movie while working on other steps, but it is a good idea to lock this down as soon as possible.

(STEP 4) CASTING MOVIE: Action Steps / To Dos - Casting Your Movie
00:13
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(STEP 5) FINDING A LOCATION: to Shoot Your Movie
9 Lectures 27:09

In this step we will discuss locations for your movie. Sometimes what seems like the obvious choice brings up issues once you are actually shooting the movie.


We will go over potential problems with locations that you may not be aware of and characteristics of a good location.

Introduction to Finding Locations (Step 5)
02:44

In this lecture we will be talking about how to get free locations, how to “pay” for locations in ways other than money, and how to decrease the costs further.
Cost of Locations - Creative Solutions
05:41

In this lecture we will have a list of general characteristics of a good location for shooting a movie.

Characteristics of a good Location To Shoot Your Movie
02:19

In this lecture we will debate the up-side and down-side of shooting in a location without permission.
The SECRET to Going Rogue - An Indie Producer’s Dilemma
01:48

Location Lockdown - The Key to Making Sure That Location Is Yours!
05:05

If you build your set with Wild Walls (movable walls) in a warehouse, you will be able to control every aspect of the design and lighting.

In this section we will discuss what you need for building your set, and some potential downsides to shooting that way.

Building a Set
03:18

Each member of your crew is an expert in their craft and will be able to spot potential problems in a location before shooting begins.

In this lecture we will talk about which crewmembers to bring and why.

Scout Locations With Your Crew
03:18

This lecture is devoted to talking about some of the things you might not have considered when scouting locations.

There are many more than what we discuss in this video, but the general intention for the lecture is to make you aware that things might come up on the day of the shoot that you regarding the location that you never thought about.

When you are on a location you are considering, try to think of all of the potential problems you could run into. You may still use the location, but at least you have brainstormed solutions to those problems before you have everyone on set and the clock is ticking.


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.

Other Film Location Issues
02:35

(STEP 5) FINDING A LOCATION: Action Steps / To Dos - Finding Movie Locations
00:21
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(STEP 6) FINDING YOUR FILM PRODUCTION CREW
14 Lectures 42:54

Your movie crew is your team behind the camera, making sure all of the elements of the movie look as realistic and appropriate as possible.

Their creative choices feed into the look and feel of your movie. On an indie movie set I like to have friendly people who are flexible and that also don’t mind jumping on camera in a scene if necessary.

An on-set crew could be comprised of hundreds of people, but for your indie-short movie, I will be covering the bare bones crew members you will need.

Introduction: What You Need to Know About Finding Your Crew (Step 6)
05:32

In this lecture we will be talking about some online and offline sources for your crew.

Some may work better than others depending on your location.

Once we get into the individual crew positions, I will also mention some places to find that crew member.

The key is to think creatively, consider the skill sets required for the position, and if you cannot find someone who has done the position on another set, fine someone who has skills that would be helpful for that position.

Where to Find Your Crew
03:47

In this lecture I will be talking about some things crew members want out of their participation in your movie other than money. This will help you when you are encouraging others to get involved with the movie you are producing.

Negotiating with your crew often depends on how much experience they have, and what direction they are going in terms of working in the movie industry.

Knowing what they want helps you help them move forward in their career (or at least see the upside of getting involved) and also makes participating in your movie production more appealing to them.

How to Get Great Crew Onboard Your Movie
03:47

If you are having trouble finding this member of your crew, we talk about some unconventional places to look for directors.

But before we do, let’s make an analogy.

Think of your movie as a wedding.

If the producer is the event coordinator finding all of the details for the wedding (like church, reception hall, date, invitations,etc), the director is the person involved with selecting the color scheme of the reception hall, the paper for the invitations, the songs the band will play.


The director makes most of the creative decisions on set and pulls together the creativity of the crew in order to create a cinematic story that makes sense, is compelling and is cohesive, with all of the elements (from all of the crew departments) fitting together as a seamless whole.
The Director
03:11

The Director of Photography (D.P.) / Cinematographer is the head of the camera department and lighting department.

If you are having trouble finding this member of your crew, we talk about some unconventional places to look for cinematographers.

Director of Photography (AKA Cinematographer or "D.P.") and Camera Department
02:50

Boom Operators hold the mic close to the actors using a stick-like device called a boom. On low budget indie sets, like yours, they will also be in charge of the sound quality, which is usually what a sound mixer does, but it is unlikely you will have one.


If you are having trouble finding this member of your crew, we talk about some unconventional places to look for your sound department.
Sound Department
03:36

An assistant director makes sure that the movie is being shot on time, anticipates the needs of the set beforehand to make sure those elements are ready to go when needed.

For Example: If the crew is almost done setting up for a scene, the A.D. will get the actors needed in that scene and make sure they are ready to step on to set as soon as the crew is finished with the setup.

The A.D. also makes adjustments to schedule with the producer and director if the production is running behind schedule, in order to get the shots that are vital.

I have a friend that calls A.D.s “Traffic Cops” on set, but I think there is a lot more nuance to it.

If you are having trouble finding this member of your crew, we talk about some unconventional places to look for your Assistant Director, or at least some characteristic that good Assistant Directors have.

Assistant Director (AKA "A.D.")
02:09

A makeup artist’s job is fairly self-explanatory, but sometimes they need special skills like prosthetics or “practical” special effects (like gunshot wounds or cuts). (as opposed to digital special effects or VFX which is done during post-production.)
If you are having trouble finding this member of your crew, we talk about some unconventional places to look for a makeup artist for your movie.

Make-Up Artist
02:25

This crewmember is also referred to as “continuity” and makes sure everything matches properly within the scope of the movie.

They also record data, such as the length of a shot, the time the crew gets the first shot complete, the time the day ends, and makes sure all of the dialogue is covered in the script.


If you are having trouble finding this member of your crew, we talk about some unconventional places to look for your Script Supervisor, or at least some characteristic that good Script Supervisors have.
Script Supervisor
02:31

On a low budget short movie set, the production designer is the art department. The most simple way to say it is that the production designer makes sure that the set looks correct. If you are working with someone who has never done it before, make sure they know that they are in charge of covering any logos that are showing. No logos may show if you are planning to publicly screen (or post online) your movie.

If you are having trouble finding this member of your crew, we talk about some unconventional places to look for your Production Designer, or at least some characteristic that good Production Designers have.

Production Designer
02:02

On a low budget short movie set, the production designer is the art department. The most simple way to say it is that the production designer makes sure that the set looks correct. If you are working with someone who has never done it before, make sure they know that they are in charge of covering any logos that are showing. No logos may show if you are planning to publically screen (or post online) your movie.


If you are having trouble finding this member of your crew, we talk about some unconventional places to look for your Production Designer, or at least some characteristic that good Production Designers have.

Production Assistant (AKA "P.A.")
02:28

Editors are not usually on set (although sometimes they are). They are part of your post-production crew (or he/she IS your post production crew), in charge of putting the clips of your movie together to make a movie.

They also sometimes do things in post production like color correction, visual effects, motion graphics for credits, dialogue and sound correction, foley, music and DVD authoring.

If you are having trouble finding this member of your crew, we talk about some unconventional places to look for a movie editor for your project.

Film Editor / Video Editor
02:02

This lecture is just a few things to keep in mind as you are going through your To-Dos for Step 6, Finding Your Movie Crew.

Concluding Thoughts Regarding Your Film Crew
05:34

(STEP 6) FINDING YOUR FILM PRODUCTION CREW: Action Steps / To Dos
01:00
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(STEP 7) : EQUIPMENT FOR YOUR MOVIE
10 Lectures 29:27
The basic equipment for a movie falls into three categories: Camera, Lighting and Audio. In this section we will be talking generally about what you should use and where to find equipment. Equipment changes fast these days so specific recommendations will not be given, but I will give ideas on where to get advice. The final destination of your movie also has something to do with equipment selection.
Introduction to Finding Equipment for Your Movie
04:43

In this lecture we are going to talk about the required quality of your movie, how the movie will be shot and how tha play into the cost of your equipment.

These factors must be balanced correctly for you to optimize your budget but also get the best looking and sounding movie you possibly can.

Movie Equipment Quality vs. Movie Equipment Cost vs. Movie Equipment Ease of Use
05:44

It is beyond the scope of this producing course to go into specific equipment choices, so here are some people you can ask that will help you make the best decision about equipment.

Getting Advice About Movie Equipment
01:43

In this lecture we are going to be talking about camera equipment to shoot your movie.

We will also be talking about bare minimums for your camera’s capabilities and features.

Camera & Accessories: Important Details
03:09

In this lecture we are going to be talking about audio equipment to shoot your movie.

We will also be talking about bare minimums for your audio equipment’s capabilities and features, and comparing the pluses and minuses of a couple of different mics.

Sound & Audio Equipment: Important Details
01:39

In this lecture we will be talking about the one piece of equipment which I consider to be a MUST on every movie set and that is a clapper or clapboard, and why it is important.

Why is a Clapboard is a Very Necessary Tool for EVERY Production?
02:04

There are a couple of ways audio is recorded. We are going to talk about those ways, what synch sound is, why we use a clapboard and how it plays into editing.
Synch Sound: Single System vs. Double System Audio and Video Recording
01:51

These are your options for getting equipment for your movie production. We will discuss the advantages and disadvantages of each option.

Buy, Rent, Borrow or Build Equipment
03:04

In this lecture I will be covering some of the details to keep in mind as you work on the To Dos for Step 7 - Finding your movie equipment, which is presented in the next lecture.

Concluding Thoughts for Locking In Equipment
04:15

Try to finish as much as possible before moving on to the next step. It is likely you will be solidifying locations while working on other steps, but it is a good idea to lock this down as soon as possible.

(STEP 7) : EQUIPMENT FOR YOUR MOVIE - Action Steps / To Dos
01:15
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(STEP 8): ONE WEEK BEFORE THE SHOOT
19 Lectures 45:08

It is time to pat yourself on the back because you have made it to the week before principal photography (shooting the movie).

So far you have been working on the overarching necessities of the production.

Now you will be focusing on the flow of the day of the shoot (or days of the shoot if you have chosen to do two days.)

The practical issues of food, water, shelter, communication and organization of cast and crew are the focus.

This is also when you MUST lock down any production needs (crew, location, actors, etc) that have evaded you so far.


The first activity for this step is to assess what you still need. There is a PDF in the next lecture to help you with this assessment.

Introduction to Your Last Week of Pre-Production (Step 8)
03:44

PDF STUDENT ACTIVITY: In this lecture you will be making a list of what you still need for your production.

This downloadable PDF will help you make a list of what you still need in terms of location, crew, cast and equipment. These items are top priority this week.

PDF Student Activity: What do you still need?
1 page

In this lecture you will learn the importance of numbering a script, how these numbers differ from the on-set numbers.
Numbering Your Script by Scenes and Shots
02:50

In this lecture we will discuss what storyboards and shotlists are, and why you need them as soon as possible from your director.

Storyboards and Shotlist (from Director)
03:09

In this lecture we will be talking about the importance of a shotmap and how to read one, and why it is very helpful to the movie production when your director creates one.

Get the Shot Map (from Director)
03:26

In this lecture I will talk about how your Assistant Director will create a shot order based on the shot list, shot map and storyboards that were created by the director.

Each location will have a shot order.

If you do not have an Assistant Director, you (the producer) will probably be doing this job.

Shot Order / Shot Schedule
02:34

In this lecture you will be shown a call sheet and instructed on how to read one and create one.

Yet again, I am asking you to make sure everybody knows the schedule.

Sure, it may be a bit overkill, but you would be surprised how often people get confused with when they have to be on set and where they have to show up.

Call Sheets and Logistics Emails Will Make Sure Your Crew and Cast is On Set
04:47

In this lecture you will learn what you need to prepare for the production meeting and gather the information you need from various key crewmembers so that you are ready for the meeting.

A Producer's Production Meeting Homework
03:28

In this lecture you will learn how to conduct a production meeting. I like to do this 7 days before shooting a short. So if you are shooting on Saturday the 8th, your meeting should be on Saturday the 1st.
Production Meeting: What to Do and How to Conduct a Great Production Meeting
01:47

t is a good idea to rehearse actors before they arrive on set.

The producer can be there, but you do not have to go if you do not feel it is necessary.

The director should be there to help convey her vision to actors through their performances.

This is also an opportunity to make sure everyone is clear about non-acting details (like wardrobe).
Acting and Blocking Rehearsal (and other details related to the actors)
02:25

Your Craft Service table is a table of food on set that allows your crew or cast to grab snacks throughout the day when they get a chance.

There are no formal breaks on a film set aside from meals (lunch and dinner). There is also no time for a crew person to drive down the road to go get a bag of chips at 7-11.

Therefore, you have to provide that for them so that they can grab what they need and go back to work.

A great CRAFT SEVICE table is an excellent way to build good rapport!
03:29

You are going to want to pick up breakfast and breakfast beverages in the morning before the shoot so that everything is fresh and hot.

Here are some ideas of good things to offer for breakfast.

Meal 1: Breakfast
01:15

When considering what meal to feed crew, realize that you are trying to please the most people at one time. Will everyone be happy? Probably not. Aim for high quality food, though, and if people have diet restrictions (like vegetarianism or gluten-free) do your best to feed those people even if it costs a little more money.

Meal 2: Lunch
02:47

If you wrap your day (finish your day) within 6 hours of starting work after lunch, you do not have to serve dinner to the crew, but if it looks like it is going to be a lot longer than 6 hours, you need to give your crew and cast another meal and then continue work after they have been properly fed and given a chance to sit down.
Meal 3: Dinner
02:13

In this lecture I will briefly cover some safety issues such as food allergies and general safety reminders for your set.

Food Preferences & Allergies/Safety on Set - The Secret to Great Work Conditions
02:23

In this lecture we will be talking about what to do two days before the shoot. Be sure your phone is charged because you are going to be using it a lot today!

Two Days Before the Shoot
00:51

In this lecture we will talk about what to do the day before the shoot.

Obviously, if you still need to get stuff done, then do it, but presuming you have done your job and have almost everything ready, it is a good idea to channel any nervous/excited energy into mundane activities.

One Day Before The Shoot
01:47

This is a short lecture about having petty cash on set for last minute purchases that your production might need.

I am putting this is STEP 9 because you are typically going to be getting your on set money organized some time during the week before the shoot.

How to Deal with Petty Cash On Set so That it Doesn't Get Lost
02:13

PDF for To Dos for Step 8: The Week Before the Shoot

Be sure you do the To-Dos from this section before moving on to the next section. This is very important

(STEP 8): ONE WEEK BEFORE THE SHOOT - Action Steps & To Dos
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(STEP 9) PRINCIPAL PHOTOGRAPHY AND THE DAY OF THE MOVIE SHOOT
10 Lectures 30:23

The day is finally here! Are you nervous? Excited? If you have done all the necessary preparations, this day should go smoothly, and your job on set is to make sure everything goes smoothly and on time, that your cast and crew stay focused and that you solve any problems that may occur.

Introduction: "On The Day" - Principal Photography and The Day of Your Shoot
08:30

In this lecture we will be going over what you will be doing BEFORE the first call time.

Morning Tasks Before People Arrive
03:40

There is a flow to a film set that will become familiar to you very quickly, but I just want to break it down because the first few times you are on a set, it might feel slow or like people are standing around doing nothing when they should be working.
The Flow of a Movie Shoot Day
03:30

After 6 hours of working, your crew will be anxious for a lunch break.

In this lecture, I will explain how to make sure it goes smoothly and on time.

Lunchtime
01:45

Afternoon
02:19

In this lecture we talk about deciding whether or not to break for dinner. It can be a tough decision, but there are some factors that we discuss that can make that choice easier.
Dinnertime
01:47

One the last shot is complete (the “martini shot” as it is often called), there is still a need to break down the set and the equipment and make sure the space is left in proper order.

In this lecture we discuss what happens after the shooting is done.

Clean-up and Striking the Set
01:29

In this lecture we discuss things to keep in mind if you are shooting principal photography for more than one day.

Principal Photography: The Second Day and So on...
01:31

I am very proud of you for getting through your first shoot day.

This lecture is a review of the day, which I covered in the previous lectures in this section in greater detail.

Principal Photography: Concluding Thoughts to Get You Through The Process
05:52

This is more of a framework or checklist for the principal photography day (STEP 9) rather than a To Do list.

It is good to keep it with you and maybe set silent reminders to your phone at the appropriate times to let you know when the next “To Do” should be done that day.

(STEP 9) PRINCIPAL PHOTOGRAPHY Action Steps & To Dos
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(STEP 10) POST-PRODUCTION - editing, distribution and promoting your movie
8 Lectures 21:55

Once the frenzy of the shoot is over and you have all of your footage, the question you will have is, “What do I do next?”

After you have rested, and you are staring at whatever you used to capture the footage, it is time to take the raw materials you now have and put it into something that reflects your vision for the movie, markets your talents to the world and gets the word out about your awesome movie!

It is also good to keep in mind that for every filmmaker, there is a different goal and a different vision for where he or she wants her movie end up.

This is a framework of popular ways people screen their movie. I am sure you will make it unique to your own needs and desires.

Post-Production Introduction: The Diverse Activities After Your Movie Is Shot
02:38

In this lecture we will get into the details of editing, starting with the different software options.

This list is not exhaustive, but presents you with the most popular movie editing software selections. These are also the ones that give you the most flexibility in terms of output (or final rendering) and are most adaptable to unconventional shooting formats.

Editing Your Movie: Non Linear Editing (NLE) Software Suggestions
03:58

In this lecture we talk about the different stages of post-production movie editing.

You may think that it is just cutting one person's dialog to fit logically with another person's dialogue.

This lecture introduces you to many elements that are added and changed during editing.

Even though this might be much more than you need right now, I want to make you aware of it because sometimes something needs to be added that you didn't know so it is better to be able to anticipate these things before the editing begins so that you can "guestimate" the proper time for editing. (Hint: it almost always takes longer than you think it will, especially if you are just beginning to learn to estimate these things.)

Editing Elements: The Secret to Movie Editing Is That It More Than Just Editing
01:51

There are a lot of advantages to screening your movie at Film Festivals. In this video we talk about some of those advantages.

Film Festivals: Screening Your Movie At FIlm Festivals
05:06

PLEASE BE SURE TO DOWNLOAD THE PDF THAT IS IN THIS LECTURE FOR ALTERNATIVES TO WITHOUT A BOX.

Several years ago I would have said to use WithoutABox, but without a box is now owned by Amazon, which, according to their user rights, can take your movie and use it however they want to if they want to without paying you.

They are also ripping of the film festivals and making it hard for them to survive financially.

In this lecture, we talk about sending your movie to film festivals WITHOUT USING WITHOUT A BOX!!!

DO NOT USE WITHOUT A BOX! (PLEASE WATCH VIDEO AND DOWNLOAD PDF)
02:34

SCREENING YOUR MOVIE ONLINE

Here are some ideas to screening your movie online and some reasons you may want to do so.

Promoting Your Movie on the Web and Elsewhere - How to Leverage What You Made
03:48

In this lecture we will be talking about some of the challenges of DVD authoring, as well as the importance of sending thank you notes and DVDs of the finished movie to your cast and crew.

Also, don’t forget all of the people that helped you along the way. Send thank yous to EVERYONE that helped you along the way and let them know how your project turned out. I’m sure they would love to hear from you when it is done!

DVD Authoring and Distributing The Finished Project to Cast and Crew
02:00

To-Do List for Post Production
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2 More Sections
About the Instructor
Leslie Lello
4.4 Average rating
26 Reviews
929 Students
1 Course
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.