# data[].attributes.body
Practical H & S Information from Filmsourcing

# data[].attributes.attachment_link.provider_name
Filmsourcing - sharing filmmaking resources

# data[].attributes.attachment_link.readable_text
Production Health & Safety isn't meant to be scary. The point of having sensible H&S measures in place is to keep everyone safe. After all we are filmmakers, not special forces soldiers (the sleep deprivation can be similar). The consequences of not taking it seriously can be scary though.

No movie is worth dying for - Steven Spielberg

Isn't Health & Safety Just Common Sense?

A great deal of it is. But common sense can struggle to prevail on a film set when you are losing light, the talent is looking at their watch, the weather is closing in and everyone is pretty tired. Those are the moments when sticking to your H&S plan is crucial and yes common sense is a key factor. It is also about working through your shoot in advance to make sure that you have that very plan in place in case something doesn't go quite the way that you want.

Don't most injuries happen on low budget projects or during stunts?

During the filming of Star Wars: Episode VII, paramedics were called to Pinewood Studios in the UK. They attended to a 71-year-old man who had injured his ankle when a door fell from the set of the Millennium Falcon.

The man was Hollywood actor Harrison Ford, and he ended up being out of action for several weeks.

Health & Safety isn't about how much money is involved, just how much care is taken.

Isn't that what Insurance is for?

Insurance may help cover the cost of damage or provide compensation in the case of injury or worse. It doesn't stop these things from happening, it just deals with the aftermath. The best approach is to prevent these situations from arising in the first place.

So I need to do even more paperwork?

Film and TV productions often require long hours in challenging locations working to a fast turnaround. By having proper H&S procedures in place, you are playing your part in keeping everyone you work with safe. How involved you are in this process and how much responsibility you carry depends on your role.

There are two key types of document that any production company should have in place before production starts. One is their Health & Safety Policy which lays out the company approach to H&S. The other is Risk Assessment which may be created for each scene, location, day, week, block or even a whole shoot depending on the timings and complexities involved.

But isn't every shoot different?

Yes it is. That's the point. Every time you plan to shoot, look at what is involved - even if it is very similar to something you have done before, it is unlikely to ever be exactly the same. I have worked as a one man band (no music involved) and as part of crews that number well over 100. The approach to H&S should be the same in both cases; plan ahead.

Accidents just happen though

There is no such thing as an accident. A highly experienced crash investigator told me this once and I tend to agree with him.

We use the word 'accident' to refer to everything from spilling a drink to road crashes and even nuclear explosions. The word suggests that luck or fate played a part but there is always at least one specific cause for the incident that could have been foreseen.

The definition of an accident is "an incidental and unplanned event that could have been prevented had circumstances leading up to the accident been recognized, and acted upon, prior to its occurrence." (Robertson, 2015). It is no surprise that "Most scientists who study unintentional injury avoid using the term "accident". (Robertson, 2015).

Safety doesn't happen by accident - John Reynolds

So who is actually responsible

Under most health and safety legislation (check the specifics of your country though), the ultimate responsibility for health and safety rests with the production company and those in control of relevant premises (studios & locations) and facilities (equipment, vehicles etc.).

It is initially up to the production company to establish appropriate procedures to control risk and place H&S alongside editorial and/or dramatic considerations. There should also be good planning, communication, co-operation and co-ordination by and between all parties involved in a production. Especially communication.

But the production company boss is never on set!

On a day-to-day basis, the producer has overall responsibility for ensuring that appropriate standards of health and safety are achieved and maintained throughout the production process.

Producers should ensure, so far as is reasonably practicable, that persons working with and for them are not exposed to risks to their health and safety. There should always be at least one experienced member of the crew who is aware of health and safety issues.

Some genres may pose more risks than others i.e. horror or action films or scenes involving animals. The production team should discuss safety issues before filming begins and take steps to avoid or reduce the risks identified.

What does "Reasonably Practicable" mean?

It means taking precautions that are possible, as well as suitable or rational, given the situation.

What's the worst that could happen?

You may already know about the 2014 incident in the USA that killed 2nd AC Sarah Jones. If you don't, maybe take a moment to familiarise yourself with the facts. I will post a link at the end of this article.
Surely that is a one off?

in 1982, during the filming of Twilight Zone: The Movie, a helicopter flying just eight metres off the ground got caught in the pyrotechnics and span out of control, killing actor Vic Morrow and two child actors, aged six and seven.

It is fortunate that terrible losses like this rarely happen. However, too often this can be down to luck rather than design.

And remember, we are all Sarah Jones (Wikipedia)

Peter Clews

Peter has 18 years production experience across 3 continents, and has arranged shoots in many more. He also runs Sprout, an award-winning production company that delivers content to a variety of international clients.

# data[].attributes.attachment_link.title
Filmmaking Health & Safety - A Practical Guide

# data[].attributes.attachment_link.description
Production Health & Safety isn't meant to be scary. The point of having sensible H&S measures in place is to keep everyone safe. After all we are filmmakers, not special forces soldiers (the sleep deprivation can be similar). The consequences of not taking it seriously can be scary though.

# data[].attributes.body
Guideline from Filmsourcing

# data[].attributes.attachment_link.provider_name
Filmsourcing - sharing filmmaking resources

# data[].attributes.attachment_link.description
On Set Health & Safety Risk Assesment - "Safety is something that happens between your ears, not something you hold in your hands." Jeff Cooper

# data[].attributes.body
Example of a Risk Assessment

# data[].attributes.body
Role and responsibilities

# data[].attributes.body
Who does what?

# data[].attributes.attachment_link.title
Who's who on a film Crew? Film Set Roles Identified

# data[].attributes.attachment_link.description
Film crews can be large or small, with various roles playing an integral part on set. We break down all film set roles and the purpose for each one.

# data[].attributes.body
By Filmmaking Magazine

# data[].attributes.attachment_link.readable_text
Back to selection
Taxi Driver (Illustration by Kent Osborne)

For those new to physical production, here is a list of film set departments, with notes on their staff positions, responsibilities, benefits and attractions. (This is a companion piece to "The Seven Arts of Working in Film: A Necessary Guide to On-Set Protocol.)
Production
Personnel includes: Unit Production Manager, Production Coordinator, Production Secretary, Office PA's, Assistants to Directors & Producers.

Responsibilities: Organization, preparation, wrap, taking care of actors, producers, director, financiers.

Join this department if you like: Working on a movie without being chained to a set, knowing everything that's going on, solving problems, aka fielding constant complaints.

Favorite game: Choosing a new person to hate every day.
Assistant Director
Personnel includes: 1st AD, 2nd AD, 2nd 2nd AD, Key PA, Set PA's.

Responsibilities: Breaking down the script into an organized shooting schedule (1st AD), communicating with all departments on a daily basis to keep production moving forward (including creating call sheets), monitoring and facilitating on set safety for all personnel.

Join this department if you like: Collaborating with key creatives to accomplish goals, military-style hierarchy and code language, panicking over a sudden need for umbrellas.

Favorite pastime: Inventing nicknames.
Grip
Personnel includes: Key Grip, Best Boy Grip, Dolly Grip, Rigging Grips.

Responsibilities: Assembling and maintaining support equipment for camera including dollies, dolly track, and jibs; setting stands for lights and placing light shaping elements such as flags.
Join this department if you like: Engineering, puzzles, manual labor.

Know them by: Creatively-tied "signature" bandanas.
Electric
Personnel includes: Gaffer, Best Boy Electric, Electricians, Generator Operator.

Responsibilities: Under instruction of the DP and Gaffer, setting all the lights and running all electrical cable, including "work lights" and equipment power for other departments.

Join this department if you like: The art of lighting, the thrill of being asked every single morning to find power for the coffee maker.

Greatest thrill: The possibility of daily electrocution.
Camera
Personnel includes: Director of Photography, 1st Assistant Camera, 2nd Assistant Camera, DIT/Media Management, Stills Photographer.

Responsibilities: Preparing and operating the camera, setting up the monitors (if there are no VTR / video playback personnel), tracking footage and managing film or digital media.

Join this department if you like: Working with extremely fragile and expensive objects, math.

Favorite accessory: Any custom-designed holder for a generic object (i.e. velcro-attached pen sleeve, walnut-handled tape wheel...)
Props
Personnel includes: Property Master, Assistant Property Master, Prop Assistants (Tangential departments: Food Stylists, Animal Wranglers).

Responsibilities: Everything that actors touch besides costumes, set dressing, and HMU, including food, weapons, cigarettes, fake drugs. Responsible for certain "video village" items including moving directors chairs and, in certain union jurisdictions, heaters and tents.

Join this department if you like: Finding the perfect object for every occasion.

Greatest frustration: Non-actors eating prop food.
Art
Personnel includes: Production Designer, Art Director, Art Dept. Coordinator, Set Decorator, Leadman, Set Dressers, Art PAs.

Responsibilities: Responsible for all the elements of scenery including set decoration (furniture, window treatments, floor coverings etc), scenic work (set painting and aging), and construction (set building). (On larger films, the Construction, Scenic and Set Decoration elements are broken into separate departments, all still working under the overall direction of the Production Designer and Art Director.)

Join this department if you like: Flea markets, moving furniture, moving more furniture.

Constant companion: Bruises.
Costumes & Wardrobe
Personnel includes: Costume Designer, Assistant Costume Designer, Shoppers, Wardrobe Supervisor, Set Costumers, Seamstress.

Responsibilities: Design & procurement of all costumes for principal talent and background including aging, dying, and alterations. Wardrobe Supervisors and Set Costumers are responsible for organizing costumes on set as well as dressing actors and background on the day. (On larger films, Costumes and Wardrobe are broken into two separate departments. The essential division of labor is: costumes creates/procures the clothes, and wardrobe puts them on the actors and maintains continuity.)

Join this department if you like: Clothes, full-length mirrors.

Most surprising fact to new hires: Bags of clothes are extremely heavy.
Continuity
Personnel includes: Script Supervisor.

Responsibilities: Breaking down the script, managing the continuity of blocking, props, makeup and costumes, tracking the progress of the production through the pages of the script.

Join this department if you like: Being a department of one, always being right.

Perk: Gets to sit in a chair all day.
Hair/Makeup
Personnel includes: Hair Department Head, Key Hair Department, Makeup Department Head, Key Makeup Department, Special Effects Makeup.

Responsibilities: H/MU of all on screen talent including simple prosthetics, hair extensions, etc. If necessary, Special Effects Makeup may be its own department.

Join this department if you like: Constant collaboration with actors, access to secrets.

Also known as: "The Glam Squad," "Vanities."
Locations
Personnel includes: Location Manager, Location Assistants, Location Scouts, Unit PAs.

Responsibilities: Finds locations, liaises with the outside world, opens and closes sets and holding areas.

Join this department if you like: Maps, interfacing with a wide swath of people including cops, firemen, government officials and curious neighbors.

Most useful tool: Cash, to pay off teenagers with boomboxes or persistent ice cream truck drivers.
Sound
Personnel includes: Sound Mixer, Boom Operator, Sound Utility

Responsibilities: Capturing and organizing the recorded sound of the film including dialogue, background noise, room tone.

Join this department if you like: Finding new and creative places to plant mics on set, listening to actors gripe about the director when they think no one can hear them, retrofitting tackle boxes into cord organizers.

Most sseful tool: Inscrutable poker face.
Catering
Personnel includes: Caterer, Chef, Assistant Chefs.

Responsibilities: Preparing and serving on set meals to cast and crew at pre appointed break times.
Join this department if you like: The joy of making people happy through delicious and comforting food, constantly being asked for esoteric hot sauces.

Most useful tool: Chaffing Dishes.
Craft Services
Personnel includes: Key Craft Service, Craft Service Assistants.

Responsibilities: Providing a buffet style selection of food and beverages on set ranging in size and complexity according to budget level.

Join this department if you like: Creatively cutting fruits and vegetables.

Most useful tool: Toaster Oven.
Special Effects
Personnel includes: Special Effects Coordinator/Supervisor, Special Effects Foreman, SFX Technicians
Responsibilities: Preparing and executing all practical on set effects including atmosphere (smoke, fog), wind effects, snow/rain, and pyrotechnics.

Join this department if you like: Being the coolest person on set.

Most useful tool: Fire extinguisher
Set Medic
Personnel includes: Set Medic.

Responsibilities: Stand by for on set medical needs of cast and crew.

Join this department if you like: Constantly being asked for sunscreen.

Most useful tool: Collapsible set chair.
Visual Effects
Personnel includes: VFX Supervisor.

Responsibilities: Directing and overseeing the creative and technical execution of non practical visual effects elements.

Join this department if you like: Being the person who has the final word in the endless argument about whether or not to use tracking marks.

Most useful tool: Personal monitor all others are jealous of.

Transportation

Personnel includes: Transportation Captain, Transportation Coordinator, Transportation Co-Captain, Drivers, Picture Car Coordinator.

Responsibilities: Providing transportation to set for all film elements including cast, trucks, set dressing etc.

Join this department if you like: Being at set both before and after everybody else.

Most useful tool: Coffee

(Not included on this list are the largely off-set departments of accounting, casting, post-production and publicity.)
The above is a revised version of an article originally published in April, 2015.

# data[].attributes.attachment_link.authors[].name
Brandon Tonner-Connolly with Alicia van Couvering

# data[].attributes.attachment_link.title
What Everyone Does on a Film Set | Filmmaker Magazine

# data[].attributes.attachment_link.description
Back to selection Taxi Driver (Illustration by Kent Osborne) For those new to physical production, here is a list of film set departments, with notes on their staff positions, responsibilities, benefits and attractions. (This is a companion piece to "The Seven Arts of Working in Film: A Necessary Guide to On-Set Protocol.)

# data[].attributes.body
Advice from Raindance

# data[].attributes.attachment_link.readable_text
One of the biggest problems most first-time filmmakers face is that of planning for - and providing - the right resources for the all-important shoot. You've written the script, or found someone to write it for you. You've found a cast, and you've arranged a day (or days) on which to shoot. And you've raised a budget that will allow you to make a film without also serving up a significant dent to your personal bank balance.

But now what? Part of your budget will be put down to equipment costs - either renting or purchasing the hardware needed to turn the inputs of light and sound into a movie. There's a bewildering array of equipment available in both the amateur and professional filmmaking markets, to hire or to buy, and choosing the right kit for your shoot can be stressful, confusing and, when done wrong, a disaster for both your film and your budget. Just as important is your crew: filming will prove just as slow and frustrating with an overload of extraneous team members as it will if there are too few to keep the ball rolling.

This handy cut-out-and-keep (over several fridges or in a filing cabinet or something) guide will take you through three levels of equipment and crew that should be present on your film set. Starting with the very, very basic needs of what is essentially a no-budget shoot, we'll progress up until we have makings of a professional indie film set-up. We've even included handy links to Amazon, where you can find some of the coolest and most useful pieces of kit and gadgets!

One thing this guide does not account for are the pre- and post- production costs, such as ADR, colour correction, editing etc, which should always be taken into account in your budget. It also ignores the salaries of cast and crew. In time-honoured independent film fashion, everyone on these fictional shoots of mine is working for free, and they love it. It's not ideal - you definitely want to be paying people to keep this industry alive - but it is where many of us start out. Plus, paying people is good for you too - "pay peanuts, get monkeys".

A word of warning: as with most arts how-to articles, this article is as much an opinion piece as it is a guide. Please treat it as such.

No, I have no money at all, not even a little bit
(OK, I have a little bit)

The Kit

Visuals

* A Middle-range DSLR Camera. Most shoot 1080p, will go to 6400 ISO, are comparatively really cheap and can double up as useful stills cameras.
* Proper digital storage for the film! It's amazing how few people think of this until the first day of the shoot when the camera stops recording after 20 seconds. Get multiple Class 10 or over SD cards with respectable amounts of memory (16 GB at least). Better still, opt for a portable hard drive that will plug into your camera.
* A Prime Lens. Do it properly. Zooming in is sinful. Stop being lazy and move the camera closer instead. Go for something like a 50mm, which sees more or less a similar view to what the human eye sees, so is relatable and good for all sorts of shots.
* A Tripod / Monopod. Essential for steadying your shots, whether you have the space or not.
* A home-made bounce board or DYI Lighting kit. Bounce boards are spectacularly simple to make: a wooden / plastic frame with an opaque white surface stretched across it will do. A DIY lighting kit, similarly, can consist of nothing more than a few house lamps - the important thing is being able to have the choice to use it, and not being stuck with whatever nature throws at you.

Audio

* A Directional Microphone. Also known as a Shotgun Mic, this piece of equipment could potentially save your entire film if used correctly. Getting the sound capture right is one of the most important aspects of filmmaking.
* Additional microphone equipment. This means extension XLR cables and adaptors. DSLRs don't take XLR, so you'll either need to find an adaptor for your camera's microphone input (normally a mini-Jack).

Lastly, there is a vital component of any film set that is scientifically proven to make the final product look more smooth and professional: a dolly. Granted, dollies and track kits are expensive even to rent, but who says you need to rent or buy one? As with our lighting kit earlier, it's fairly easy to achieve a smooth tracking shot using stuff you pick up here and there for free. Anything with wheels (bicycle, skateboard, wheelchair) can be used, so long as the surface it's rolling on is nice and flat. And have you seen the Pico-Dolly? It's a genius, cheap solution to all your smooth-shot needs.

You can even try something without wheels: Elliot Grove once achieved one of his favourite-ever shots by dragging a camera on a leather jacket across a marble floor.

The Crew

* Director / Cameraman / DoP - A dazzlingly multi-tasking role, but folding the director's job in with the cinematographer's and the camera operator's is a good way of keeping the amount of people on the set down, as well as the budget. It also allows the artistic vision and decisions to stay with one person, making things simpler in your first shoot.
* Producer - Many small-scale productions (especially if the film being shot is a short) will combine the Director and Producer into one role. Although this is possible, you'll probably find that on the day organizing all the actors, equipment and locations is a bit overwhelming. Let the producer worry about organization, you worry about the film.
* Sound / Lighting / General handyman - While the Director and Producer are busy with the artistic vision and organization of the shoot, this member of the team will provide vital support by acting as a runner, boom mic operator, backup cameraman, script supervisor, gaffer, and all those other myriad jobs that make moviemaking possible.
* Actors (up to 5) - As aforementioned, it is important that you keep the number of unnecessary people on your set to a minimum. For your first project, pick or write a script with as few characters as possible. Remember, being an actor on-set is mostly a boring, irritating experience, especially when you're not being paid or fed, so reduce the amount of people you're going to be looking after for a more relaxed experience.

Oh, look, found some money

The Kit

Visuals

* High-range DSLR / Low-range Film camera - If you've got a bit of money to spare, go for a higher-quality DSLR, or look at buying or renting a camera exclusively for film such as a C300, Blackmagic, etc...
* Storage - A portable hard-drive, compatible with your camera's memory output.
* Monitor - Simply a screen linked to your camera, so you can watch what is being filmed live without having to crane into the viewfinder. Very useful if you're not shooting yourself, and very cheap and easy to set up and find. Remember, you'll have to get the right cables too!
* 50mm Prime lens - Again, your main and most useful lens, appropriate for all sorts of styles and shots.
* Telephoto lens - The most popular length is the 70-200mm. This lens will allow you to become a bit more experimental with camera placement, such as with outdoor shots and flattening the background.
* A small professionalLighting kit featuring at least one bounce board, a couple of fill lights, a pick or two, gels and stands.
* A Tripod.
* A Shoulder rig. Since you have the budget, invest in a good piece of equipment for shooting on the move. You're still not quite in proper Steadicam territory, but a Fig Rig or entry-level counterweight system could be in your price range and very useful.

Audio

* Shotgun mic, with all the extension cables, adaptors and the boom and an external sound recorder.

With a higher budget, you can begin to look at different ways of mic-ing actors up. Although none should be used as a permanent alternative to a good shotgun microphone, body mics and ambient mics are useful for capturing intimate sound in difficult scenes or the general aural atmosphere of a location. The external device is always preferable to connecting the microphone directly to the camera, as it will provide a much better sound quality and can be carried around by the sound man, avoiding cable mix-ups and difficult set-ups.

Again, now we've taken a step up the budget ladder, we can begin to look at more professional solutions to certain problems. As opposed to a skateboard or a coat being dragged across the floor, you can now afford to hire a small (but still professional) track and dolly kit. This should come with a proper fitting for a tripod (or a even a tripod of it's own!), a set of tracks and well-made rollers, so that the camera movement is as smooth as possible. The massive advantage of having a track is the ability to lay it down on practically any surface, and still achieve a fluid motion.

The Crew

* Director / DoP - This time around the Director has the massive advantage of not having to operate the camera at the same time, so he can focus solely on directing the actors and camera operator.
* Producer - Tasked with organizing the set on the day of the shoot, as well as all their other pre- and post-production responsibilities.
* Camera operator / 2nd DoP / Lighting technician - Make sure you find someone who knows about photography, camera placement, etc. Not only will they be much easier to work with than someone new to the game, but they will probably come up with ideas on-set that you hadn't previously considered.
* Sound technician - An experienced sound technician, proficient at both sound capture and boom placement, will make all the difference to your movie soundtrack's quality.
* General set handyman (Runner) - Someone needs to push the dolly and carry the bags around, as well as take over everyone else's job when they're too busy!
* Actors (up to 5)

Take my money, I don't want it

So. Somehow, through begging, borrowing and stealing, depriving your parents of their retirement fund or yourself of food for a few months (or years), you've managed to raise a respectable budget for a respectable film shoot.

At this point, you get to become more experimental with your script and directorial choices. Doors which were previously closed - Steadicam technology, cranes, scenes in difficult or far-away locations - are suddenly opened.

The Kit

Visuals

* 2 x Cameras - TWO?! Yes, two. Three is probably an exaggeration, but being able to capture a scene from a couple of different angles simultaneously, or even shoot different scenes at different locations at the same time, is a massive advantage. At this level we can begin to look at proper professional cameras (more for hire than to buy) such as a RED or an Arri Alexa - or even a combination of a pro film camera and a high-range DSLR, Slumdog Millionaire style.
* 2 x external hard drives for storage, to go with our two cameras.
* A full set of Prime lenses, from 11mm through to 200mm or so. This covers practically the whole range and will give your DoP a great set of options to play with - although if you're planning on using a zoom function for a trick shot (such as a contrazoom), you'll need to source yourself a Zoom lens.
* Tripods, Monopods, Tracks, a Dolly, and, if you're feeling really adventurous, a jib or crane.
* A couple of handheld systems - Depending on the script, you might need to have some camera movement that cannot be done on tracks. To do this, you can use a variety of handheld camera systems, from the very cheap and rudimentary Fig Rig to the very expensive, very complicated Steadyicam systems, which often come with their own operators.
* Professional Lighting kit with floods and spots for general lighting effects, picks for highlighting, and gels and stands to get the right colours and angles. Before you buy, however, have a chat with your DoP and see what they suggest.

Audio

* 2 x Shotgun mics with cables, booms, external recorders.
* 1 x ambient mic with cables, stand, external recorder.
* A couple of body mics - Once again, depending on the script. Body mics are mostly used in shots too wide for a microphone on a boom and come with their own set of issues, namely the excess noise caused by the microphone rubbing on clothing.

A good idea would be to speak to your Sound engineer and see what they need. Although the above will do for most shoots, they might need a specialist piece of equipment you haven't heard of before, or didn't think to include in the initial list.

The Crew

* Director - purely responsible for the artistic direction of the shoot.
* Assistant Director - This person will be in charge of the people on your set - and since you're in charge of the crew, who will be busy most of the time, this means they're in charge of organising the actors. Although we say 'in charge', an old phrase about herding cats comes to mind - so be nice to the AD, for they have a horrible job.
* Producer - The higher the budget, the more everyone's responsibilities start looking like what they're supposed to be. In this shoot, the producer will be responsible for organizing and scheduling locations, crew and equipment, but has some minions (such as the AD and the handymen) to help him out. The producer should also be responsible for making sure none of the kit gets damaged or lost.
* Camera operator / DoP - One of the most common pieces of advice to first-time feature filmmakers is to hire a proper Director of Photography. They need to be trained and they need to have experience working on film sets before. You can still direct the camera from the monitor (this sounds needy), but their expertise will make the whole process seem a lot easier and more creative.
* Sound engineer - Preferably someone experienced in working in sound recording, with good microphone placement knowledge and a good ear. They do not have to constantly operate the boom themselves, but do have to pay close attention to the type and quality of sound being captured. There are many sound engineers with the skills to do the job well working in the theatre who rarely get a chance to be on a film set, so widen the breadth of your search to outside the film world.
* Lighting technician / Gaffer - Again, you're better off erring on the side of experience and hiring someone who has worked with lighting systems before; and again, this tends to be a domain in which theatre technicians can be an extremely creative and experienced pool of talent. Many DoPs however, will also know or be used to working with their own Lighting Technicians.
* Runners - Your precious little minions. You will probably have no problem finding some people to do this for free, but bear in mind that on your shoot, their duties will be more than just fetching the tea. They will be assisting not only the Producer, but also the Lighting Technician, the Sound Engineer, the DoP the Actors and, of course, you, not to mention carrying all the kit and pushing the dolly and laying out the tracks and tidying the set and keeping the equipment safe. Precious, precious minions.
* Actors - Clearly, the amount of actors you have on set will depend on the amount of actors featured in the script, but with a higher budget you can afford to take on films with multiple speaking parts, as you have your AD to look after the actors between takes.

There's one filmmaking post-script that needs to be addressed, and is directed to all three levels of filmmaking above, as well as practically every other level of filmmaking there is. In any shoot, there are two vital components that will make your life as a filmmaker easier by several thousand degrees. The first is a place to store and transport your equipment, preferably at the same time. This means either a car or, even better, a van.

The second is a ready supply of electricity: as you might remember, nearly everything on a film set needs those little blue sparks to function, from the microphones to the camera to your tired, tired brain. Don't get caught out, scout out your locations first and if there are no/not enough mains plugs bring along a generator.

Oh, also this thing.

That brings us to the end of this incredibly long guide. I hope you've cut-out-and-kept! And that you haven't run out of glue or scissor-metal.

# data[].attributes.attachment_link.title
Your Basic Filmmaking Kit & Crew: A 3-Level Guide - Raindance

# data[].attributes.attachment_link.description
One of the biggest problems most first-time filmmakers face is that of planning for - and providing - the right resources for the all-important shoot. You've written the script, or found someone to write it for you. You've found a cast, and you've arranged a day (or days) on which to shoot.

# data[].attributes.body
Some advice from Rhiannon and Connor from Cinemerse

# data[].attributes.body
Share their knowledge

# data[].attributes.attachment_link.description
Search BAFTA's hub of inspirational career advice from the very best in film, games and TV

# data[].attributes.attachment_link.readable_text
Breaking Down The Steps To Success

Beginning your journey toward becoming a filmmaker is simple; building the skills necessary to make a successful break into the film industry takes much more time and commitment. While everyone will need different skill sets based on the position they'd like to have on set, for filmmakers, there are several skills that everyone - from directors to editors - must have. By fostering these 5 skills every filmmaker needs to succeed, you'll be able to play a vital role in making films, no matter what that role may be.

1. Technological Expertise - or at the very least, a very solid working understanding of the latest filming technology and software.

One of the ways you can ensure you're always wanted is to make yourself invaluable. As a filmmaker, that means having the technical experience required to do the job right and do it well. While you don't have to be an expert on every element of filmmaking, it's important to at least know what a good shot looks like and how to achieve it, including framing, staging, lighting, and the actual technology that should be used. As long as you know what you should be doing, you'll have an easy time learning how to do it - especially when you're learning by doing!
As a filmmaker, having some technical understanding of every piece of the filmmaking process is imperative; this includes camerawork, lighting, sound, special effects, design, post-production processes, and more. All of this is nearly impossible to learn on your own, but with the right resources and enough hands-on experience, you can prepare yourself for all of the technical aspects of filmmaking.

2. Flexible Creativity

It's impossible to make films without creativity, and you can't claim to be a creative filmmaker if you haven't invested your time in understanding the range of filmmaking specialties. As a filmmaker, whether you're hoping to work as a director, producer, post-production coordinator, or otherwise, you need the creative talent to be able to visualize the production of a film. From start to finish, filmmaking requires vision from everyone involved in the process - everyone feeds into and off of the ideas for a film, and no matter what you hope to be specializing in as a filmmaker, you should be prepared to contribute to the creation of a film in any way that's needed; that includes working in positions that may not be your dream job but still require you to use your creativity to contribute to a film as a whole. If you're both creative and flexible, you can always find a way to contribute as a filmmaker, whether you're just starting out, or you're running the show.

3. Written and Visual Storytelling

Although filmmakers can spend hours, months, and even years physically making a film, there's no way to make a film - or at least a successful film - without the skills needed for both visual and written storytelling. Although not everyone is a creative genius and not everyone will be able to write the best scripts and create the best storyboards, everyone can foster the skills needed to understand, draft, evaluate and analyze stories, including written scripts and wordless visual stories. Even if you'll have no role in writing a script or creating the artistic visuals, as a filmmaker, you will need to understand the story you're trying to portray so that you can create a film whose story is portrayed well throughout every element of production. If you're working as a cinematographer, producer, director, or otherwise, you simply can't be successful if you aren't always aware of how the decisions you make affect the story - and vice versa.

4. Decisive and Problem-Solving Leadership

Whatever role you play as a filmmaker, you must be able to be responsible for every task your position requires, and you should be able to contribute to the work of others by understanding how your work affects and is affected by the work of everyone around you. That means that whether you're leading production, directing, working behind the cameras, or otherwise, you're acting as an effective leader whenever necessary - and in any way necessary.
Filmmaking is not simple; you'll run into problems that you don't know how to solve, have dilemmas that complicate your vision, or encounter obstacles that will require you to make difficult decisions before moving forward. When this happens, you'll need to have quick and decisive problem-solving skills to avoid delays in production and ensure deadlines are met. Without the ability to decisively lead, even a filmmaker with creative vision and technical expertise could suffer under the difficulties of filmmaking.

5. Communication

In any industry and any position, communication is key. But when you're a filmmaker working on set with countless other crew and cast members, good communication skills are absolutely necessary. Without the ability to effectively communicate, you'll find that no amount of experience or filmmaking expertise can help you bring a vision to life and effectively communicate a story. You'll be working with directors, producers, cinematographers, screenwriters, editors and other filmmaking experts who each need to have a solid understanding of their roles in a film, their individual instructions, a film's creative vision, how the work of one team will affect that of another, and more. The only way to be sure everyone is on the same page on and off set is to make sure you're communicating effectively at all times, whether you're explaining your own artistic vision, or you're clarifying your role in creating a film.

To foster each of these skills, you'll need more than an insatiable desire to make films; you'll need up-close and personal experience working on your trade. Whether you're interested in traditional or digital filmmaking, you can gain the experience you need to thrive with the Los Angeles Film School. Through our filmmaking programs, including a Bachelor of Science in Film Production, an Associate of Science in Film, and a Bachelor of Science in Digital Filmmaking, you'll work every day toward finding success in the film industry by nurturing these five filmmaking skills.

# data[].attributes.attachment_link.description
Beginning your journey toward becoming a filmmaker is simple; building the skills necessary to make a successful break into the film industry takes much more time and commitment. While everyone will need different skill sets based on the position they'd like to have on set, for filmmakers, there are several skills that everyone - from directors to editors - must have.

# data[].attributes.headline
What resources do you need to make a short film?

# data[].attributes.subject
What resources do you need to make a short film?

# data[].attributes.attachment_link.readable_text
One of the biggest problems most first-time filmmakers face is that of planning for - and providing - the right resources for the all-important shoot. You've written the script, or found someone to write it for you. You've found a cast, and you've arranged a day (or days) on which to shoot. And you've raised a budget that will allow you to make a film without also serving up a significant dent to your personal bank balance.

But now what? Part of your budget will be put down to equipment costs - either renting or purchasing the hardware needed to turn the inputs of light and sound into a movie. There's a bewildering array of equipment available in both the amateur and professional filmmaking markets, to hire or to buy, and choosing the right kit for your shoot can be stressful, confusing and, when done wrong, a disaster for both your film and your budget. Just as important is your crew: filming will prove just as slow and frustrating with an overload of extraneous team members as it will if there are too few to keep the ball rolling.

This handy cut-out-and-keep (over several fridges or in a filing cabinet or something) guide will take you through three levels of equipment and crew that should be present on your film set. Starting with the very, very basic needs of what is essentially a no-budget shoot, we'll progress up until we have makings of a professional indie film set-up. We've even included handy links to Amazon, where you can find some of the coolest and most useful pieces of kit and gadgets!

One thing this guide does not account for are the pre- and post- production costs, such as ADR, colour correction, editing etc, which should always be taken into account in your budget. It also ignores the salaries of cast and crew. In time-honoured independent film fashion, everyone on these fictional shoots of mine is working for free, and they love it. It's not ideal - you definitely want to be paying people to keep this industry alive - but it is where many of us start out. Plus, paying people is good for you too - "pay peanuts, get monkeys".

A word of warning: as with most arts how-to articles, this article is as much an opinion piece as it is a guide. Please treat it as such.

No, I have no money at all, not even a little bit
(OK, I have a little bit)

The Kit

Visuals

* A Middle-range DSLR Camera. Most shoot 1080p, will go to 6400 ISO, are comparatively really cheap and can double up as useful stills cameras.
* Proper digital storage for the film! It's amazing how few people think of this until the first day of the shoot when the camera stops recording after 20 seconds. Get multiple Class 10 or over SD cards with respectable amounts of memory (16 GB at least). Better still, opt for a portable hard drive that will plug into your camera.
* A Prime Lens. Do it properly. Zooming in is sinful. Stop being lazy and move the camera closer instead. Go for something like a 50mm, which sees more or less a similar view to what the human eye sees, so is relatable and good for all sorts of shots.
* A Tripod / Monopod. Essential for steadying your shots, whether you have the space or not.
* A home-made bounce board or DYI Lighting kit. Bounce boards are spectacularly simple to make: a wooden / plastic frame with an opaque white surface stretched across it will do. A DIY lighting kit, similarly, can consist of nothing more than a few house lamps - the important thing is being able to have the choice to use it, and not being stuck with whatever nature throws at you.

Audio

* A Directional Microphone. Also known as a Shotgun Mic, this piece of equipment could potentially save your entire film if used correctly. Getting the sound capture right is one of the most important aspects of filmmaking.
* Additional microphone equipment. This means extension XLR cables and adaptors. DSLRs don't take XLR, so you'll either need to find an adaptor for your camera's microphone input (normally a mini-Jack).

Lastly, there is a vital component of any film set that is scientifically proven to make the final product look more smooth and professional: a dolly. Granted, dollies and track kits are expensive even to rent, but who says you need to rent or buy one? As with our lighting kit earlier, it's fairly easy to achieve a smooth tracking shot using stuff you pick up here and there for free. Anything with wheels (bicycle, skateboard, wheelchair) can be used, so long as the surface it's rolling on is nice and flat. And have you seen the Pico-Dolly? It's a genius, cheap solution to all your smooth-shot needs.

You can even try something without wheels: Elliot Grove once achieved one of his favourite-ever shots by dragging a camera on a leather jacket across a marble floor.

The Crew

* Director / Cameraman / DoP - A dazzlingly multi-tasking role, but folding the director's job in with the cinematographer's and the camera operator's is a good way of keeping the amount of people on the set down, as well as the budget. It also allows the artistic vision and decisions to stay with one person, making things simpler in your first shoot.
* Producer - Many small-scale productions (especially if the film being shot is a short) will combine the Director and Producer into one role. Although this is possible, you'll probably find that on the day organizing all the actors, equipment and locations is a bit overwhelming. Let the producer worry about organization, you worry about the film.
* Sound / Lighting / General handyman - While the Director and Producer are busy with the artistic vision and organization of the shoot, this member of the team will provide vital support by acting as a runner, boom mic operator, backup cameraman, script supervisor, gaffer, and all those other myriad jobs that make moviemaking possible.
* Actors (up to 5) - As aforementioned, it is important that you keep the number of unnecessary people on your set to a minimum. For your first project, pick or write a script with as few characters as possible. Remember, being an actor on-set is mostly a boring, irritating experience, especially when you're not being paid or fed, so reduce the amount of people you're going to be looking after for a more relaxed experience.

Oh, look, found some money

The Kit

Visuals

* High-range DSLR / Low-range Film camera - If you've got a bit of money to spare, go for a higher-quality DSLR, or look at buying or renting a camera exclusively for film such as a C300, Blackmagic, etc...
* Storage - A portable hard-drive, compatible with your camera's memory output.
* Monitor - Simply a screen linked to your camera, so you can watch what is being filmed live without having to crane into the viewfinder. Very useful if you're not shooting yourself, and very cheap and easy to set up and find. Remember, you'll have to get the right cables too!
* 50mm Prime lens - Again, your main and most useful lens, appropriate for all sorts of styles and shots.
* Telephoto lens - The most popular length is the 70-200mm. This lens will allow you to become a bit more experimental with camera placement, such as with outdoor shots and flattening the background.
* A small professionalLighting kit featuring at least one bounce board, a couple of fill lights, a pick or two, gels and stands.
* A Tripod.
* A Shoulder rig. Since you have the budget, invest in a good piece of equipment for shooting on the move. You're still not quite in proper Steadicam territory, but a Fig Rig or entry-level counterweight system could be in your price range and very useful.

Audio

* Shotgun mic, with all the extension cables, adaptors and the boom and an external sound recorder.

With a higher budget, you can begin to look at different ways of mic-ing actors up. Although none should be used as a permanent alternative to a good shotgun microphone, body mics and ambient mics are useful for capturing intimate sound in difficult scenes or the general aural atmosphere of a location. The external device is always preferable to connecting the microphone directly to the camera, as it will provide a much better sound quality and can be carried around by the sound man, avoiding cable mix-ups and difficult set-ups.

Again, now we've taken a step up the budget ladder, we can begin to look at more professional solutions to certain problems. As opposed to a skateboard or a coat being dragged across the floor, you can now afford to hire a small (but still professional) track and dolly kit. This should come with a proper fitting for a tripod (or a even a tripod of it's own!), a set of tracks and well-made rollers, so that the camera movement is as smooth as possible. The massive advantage of having a track is the ability to lay it down on practically any surface, and still achieve a fluid motion.

The Crew

* Director / DoP - This time around the Director has the massive advantage of not having to operate the camera at the same time, so he can focus solely on directing the actors and camera operator.
* Producer - Tasked with organizing the set on the day of the shoot, as well as all their other pre- and post-production responsibilities.
* Camera operator / 2nd DoP / Lighting technician - Make sure you find someone who knows about photography, camera placement, etc. Not only will they be much easier to work with than someone new to the game, but they will probably come up with ideas on-set that you hadn't previously considered.
* Sound technician - An experienced sound technician, proficient at both sound capture and boom placement, will make all the difference to your movie soundtrack's quality.
* General set handyman (Runner) - Someone needs to push the dolly and carry the bags around, as well as take over everyone else's job when they're too busy!
* Actors (up to 5)

Take my money, I don't want it

So. Somehow, through begging, borrowing and stealing, depriving your parents of their retirement fund or yourself of food for a few months (or years), you've managed to raise a respectable budget for a respectable film shoot.

At this point, you get to become more experimental with your script and directorial choices. Doors which were previously closed - Steadicam technology, cranes, scenes in difficult or far-away locations - are suddenly opened.

The Kit

Visuals

* 2 x Cameras - TWO?! Yes, two. Three is probably an exaggeration, but being able to capture a scene from a couple of different angles simultaneously, or even shoot different scenes at different locations at the same time, is a massive advantage. At this level we can begin to look at proper professional cameras (more for hire than to buy) such as a RED or an Arri Alexa - or even a combination of a pro film camera and a high-range DSLR, Slumdog Millionaire style.
* 2 x external hard drives for storage, to go with our two cameras.
* A full set of Prime lenses, from 11mm through to 200mm or so. This covers practically the whole range and will give your DoP a great set of options to play with - although if you're planning on using a zoom function for a trick shot (such as a contrazoom), you'll need to source yourself a Zoom lens.
* Tripods, Monopods, Tracks, a Dolly, and, if you're feeling really adventurous, a jib or crane.
* A couple of handheld systems - Depending on the script, you might need to have some camera movement that cannot be done on tracks. To do this, you can use a variety of handheld camera systems, from the very cheap and rudimentary Fig Rig to the very expensive, very complicated Steadyicam systems, which often come with their own operators.
* Professional Lighting kit with floods and spots for general lighting effects, picks for highlighting, and gels and stands to get the right colours and angles. Before you buy, however, have a chat with your DoP and see what they suggest.

Audio

* 2 x Shotgun mics with cables, booms, external recorders.
* 1 x ambient mic with cables, stand, external recorder.
* A couple of body mics - Once again, depending on the script. Body mics are mostly used in shots too wide for a microphone on a boom and come with their own set of issues, namely the excess noise caused by the microphone rubbing on clothing.

A good idea would be to speak to your Sound engineer and see what they need. Although the above will do for most shoots, they might need a specialist piece of equipment you haven't heard of before, or didn't think to include in the initial list.

The Crew

* Director - purely responsible for the artistic direction of the shoot.
* Assistant Director - This person will be in charge of the people on your set - and since you're in charge of the crew, who will be busy most of the time, this means they're in charge of organising the actors. Although we say 'in charge', an old phrase about herding cats comes to mind - so be nice to the AD, for they have a horrible job.
* Producer - The higher the budget, the more everyone's responsibilities start looking like what they're supposed to be. In this shoot, the producer will be responsible for organizing and scheduling locations, crew and equipment, but has some minions (such as the AD and the handymen) to help him out. The producer should also be responsible for making sure none of the kit gets damaged or lost.
* Camera operator / DoP - One of the most common pieces of advice to first-time feature filmmakers is to hire a proper Director of Photography. They need to be trained and they need to have experience working on film sets before. You can still direct the camera from the monitor (this sounds needy), but their expertise will make the whole process seem a lot easier and more creative.
* Sound engineer - Preferably someone experienced in working in sound recording, with good microphone placement knowledge and a good ear. They do not have to constantly operate the boom themselves, but do have to pay close attention to the type and quality of sound being captured. There are many sound engineers with the skills to do the job well working in the theatre who rarely get a chance to be on a film set, so widen the breadth of your search to outside the film world.
* Lighting technician / Gaffer - Again, you're better off erring on the side of experience and hiring someone who has worked with lighting systems before; and again, this tends to be a domain in which theatre technicians can be an extremely creative and experienced pool of talent. Many DoPs however, will also know or be used to working with their own Lighting Technicians.
* Runners - Your precious little minions. You will probably have no problem finding some people to do this for free, but bear in mind that on your shoot, their duties will be more than just fetching the tea. They will be assisting not only the Producer, but also the Lighting Technician, the Sound Engineer, the DoP the Actors and, of course, you, not to mention carrying all the kit and pushing the dolly and laying out the tracks and tidying the set and keeping the equipment safe. Precious, precious minions.
* Actors - Clearly, the amount of actors you have on set will depend on the amount of actors featured in the script, but with a higher budget you can afford to take on films with multiple speaking parts, as you have your AD to look after the actors between takes.

There's one filmmaking post-script that needs to be addressed, and is directed to all three levels of filmmaking above, as well as practically every other level of filmmaking there is. In any shoot, there are two vital components that will make your life as a filmmaker easier by several thousand degrees. The first is a place to store and transport your equipment, preferably at the same time. This means either a car or, even better, a van.

The second is a ready supply of electricity: as you might remember, nearly everything on a film set needs those little blue sparks to function, from the microphones to the camera to your tired, tired brain. Don't get caught out, scout out your locations first and if there are no/not enough mains plugs bring along a generator.

Oh, also this thing.

That brings us to the end of this incredibly long guide. I hope you've cut-out-and-kept! And that you haven't run out of glue or scissor-metal.

# data[].attributes.attachment_link.title
Your Basic Filmmaking Kit & Crew: A 3-Level Guide - Raindance

# data[].attributes.attachment_link.description
One of the biggest problems most first-time filmmakers face is that of planning for - and providing - the right resources for the all-important shoot. You've written the script, or found someone to write it for you. You've found a cast, and you've arranged a day (or days) on which to shoot.

# data[].attributes.attachment_link.readable_text
Find out what roles are necessary to filmmaking.

Filmmaking Jobs Defined

Reading the credits at the end of a film can be like reading a foreign language. To a film industry newbie, "best boy" and "dolly grip" aren't exactly the most enlightening job titles, after all.

There are, however, many people who dream of having their name mentioned in the credits of a major motion picture. No matter how small your role, there's a feeling of accomplishment seeing your name on the big screen.

If you're currently outside the film industry, trying to figure out your first steps to getting experience in filmmaking jobs, a little more explanation of the various roles can be helpful.

Decoding Filmmaking Jobs

Producer: Runs the business end of a film project, from finding a script to hiring to finances.

Associate Producer: Assists the producer and communicates with both the production and postproduction crew.

Production Manager: Manages the many business aspects of a production, from getting the right equipment to arranging housing for the cast and crew.

Production Assistant: Handles a variety of small tasks necessary for daily operations on the set.

Postproduction Supervisor: Coordinates the processes and workers involved in finishing the movie after filming has wrapped.

Line Producer: Handles the budget for a film project.

Director: Directs all creative elements of a film, from helping hire actors to choosing locations, and making sure that his/her vision is successfully communicated to the crew.

Assistant Director / First Assistant Director - Helps the director by planning the filming timeline and managing the set, the extras and more.

Location Manager - Scouts locations and obtains permits for filming in those locations.

Art Director - Designs and oversees set construction.

Set Designer - Responsible for executing the construction of the set according to the art director's instructions.

Cinematographer / Director of Photography: Carries out the director's vision for the look of a film. Plans and supervises others to achieve the right camera shots, lighting and set design.

Camera Operator: Follows the action with the camera, according to instructions from the director and cinematographer.

Dolly Grip: Sets up the dolly track and operates the dolly, allowing the camera and camera crew to move smoothly as they capture the action.

Key Grip: The head grip in charge of setting up equipment to enable the camera crew to capture the right shots.

Gaffer: Sets up the lighting on set.

Best Boy: The primary assistant to either the gaffer or the key grip.

Production Sound Mixer: Records all production dialogue and other production sounds at optimal levels. May also mix the various tracks for dailies.

Boom Operator: Holds the microphone boom near the action to capture the dialog.

Foley Artist: Creates sound effects that can't be captured during filming.

Editor: Works with the director to produce the final cut of a film that both flows well and captures the director's vision for the project.

Negative Cutter: Cuts the actual negative of the film as directed by the editor, director and others.

Take the First Step Toward a Filmmaking Job

In a filmmaking job, as in any occupation, pursuing a degree can be a good step toward achieving your career goals. Film school can give you the skills you'll need for a wide variety of filmmaking jobs-whether you have your eye set on a director role, a cinematographer job, or any of the supporting positions needed to produce a feature length film.

# data[].attributes.attachment_link.description
Find out what roles are necessary to filmmaking. Reading the credits at the end of a film can be like reading a foreign language. To a film industry newbie, "best boy" and "dolly grip" aren't exactly the most enlightening job titles, after all.

# data[].attributes.attachment_link.readable_text
Designed to develop more specialist filmmaking skills, this year our Specialist courses will be delivered as an intensive week or over a set number of weekends. You'll work closely with leading industry professionals who will give you a unique insight into the filmmaking business and guide you along the way.

# data[].attributes.attachment_link.description
Designed to develop more specialist filmmaking skills, this year our Specialist courses will be delivered as an intensive week or over a set number of weekends. You'll work closely with leading industry professionals who will give you a unique insight into the filmmaking business and guide you along the way.

# data[].attributes.headline
Bafta - Succeeding in Film,TV and Games Careers 

# data[].attributes.subject
Bafta - Succeeding in Film,TV and Games Careers 

# data[].attributes.attachment_link.readable_text
You can't copy or use copyright material without permission. For example, you can't buy a painting and then use copies of it for a book cover, or buy a CD and use a track from it in a film.

To use something protected by copyright you must either:

agree a licence with the owner to use it

buy or acquire the copyright

confirm that your intended use falls within the exceptions to copyright

A person can give permission if they are:

the person who made it (the creator), or their family or heirs

the creator's employer, if it was created it as part of the creator's job

a person who bought, acquired or licensed the rights

an organisation representing the copyright owner

You may be able to find out who owns copyright from Writers, Artists and their copyright holders ( WATCH).

If you can't find out who the copyright owner is check if you need a licence to use the work.

Licensing

You must agree the terms of an agreement with the current owner to use all or part of copyright works.

The licence agreement may allow you to use it for one or more specified purposes and may apply only for a limited time or in specific places.

Exclusive use

You'll be the only person able to use something for the duration of the agreement.

This includes the copyright owner, who won't be able to use it themselves while the agreement is in place.

Limited use

You'll only be given permission to use something for one or more specific reasons, for example publishing a photograph in one edition of a magazine or using a song as the theme for one series of a TV show.

You need to agree another licence if you want to use the material for something else.

Creative Commons licence

Some copyright owners release work under a Creative Commons licence.

You must check what kind of use the licence allows.

When you buy copyright the person you're buying from transfers the copyright to you.

Once you own the copyright to something you can use it for anything you like, without the creator's express permission, as long as you respect their moral rights.

You must have a written agreement, signed by the copyright owner, stating that they have transferred ownership of the copyright to you.

Moral rights

The creator may still have certain rights regarding how their work is used even if you've bought the copyright.

Authors, playwrights, composers, artists and film directors have the moral right:

to be recognised as the creator of the work when copies are made available to the public

to object to the work being altered in a way that has negative effect on their reputation

to not have someone else's work falsely attributed to them

Performers, such as actors or dancers, have the moral right:

to be recognised as the performer of the piece

to object to the performance being altered in a way that is damaging to their reputation

The creator or performer of a piece of work to which you own the copyright must tell you if they want to exercise these rights.

They can choose whether or not to use their moral rights.

Moral rights can't be sold or transferred in the same way as copyright. They last for as long as the piece of work is covered by copyright.

Performers' rights

Performers, for example in films or broadcasts, may still have 'economic rights' to some copyright material, even if you've bought the copyright.

For example, if you've bought the copyright to a filmed recording of a play you may still have to pay the actors if you broadcast it.

You may not need permission if you're using a copyright work for the following reasons:

non-commercial research and private study

criticism, review and reporting current events

teaching in educational establishments

helping disabled people

recording for use at a later date

You may not need permission if you only want to use a 'less than a substantial' part of a copyright protected work. This is decided on a case by case basis.

Generally something won't be less than a substantial part if it could be seen as an important part of the work, for example a frame from a film or the conclusions of a report.

Get legal advice from an intellectual property professional before using copyrighted material, if you're in any doubt.

Read the guidance on exceptions to copyright for detailed information.

# data[].attributes.attachment_link.title
Using somebody else's intellectual property

# data[].attributes.attachment_link.description
Buy or get someone's permission to use a patent, trade mark, design or work under copyright

# data[].attributes.attachment_link.title
Biography – Philip John / Director & Writer

# data[].attributes.attachment_link.description
Welsh director, Philip John is the recipient of many awards and accolades, including BAFTA nominations for Best Director for Downton Abbey, Being Human and Bang, as well as many festival awards for short films Sister Lulu and Suckerfish. His debut movie Moon Dogs has won awards in festivals across the world.

# data[].attributes.attachment_link.readable_text
Whether you are an actor, a filmmaker, or a film geek through and through, writing film reviews can help hone your ability to think critically. With experience writing reviews, cinephiles can watch movies with a more thoughtful and intentional perspective. This skill enables viewers to have a response that goes deeper than "That movie was awesome!" And for you future film reviewers out there, it's never too soon to start.

How to Write a Movie Review

While there's no perfect approach to writing a movie review, there are definitely best practices that every aspiring reviewer can consider. Here are nine tips on writing a compelling piece.

1. Watch the film at least once.

When writing a film review, once is necessary, but twice is preferable. It's impossible to capture every detail and thought only after one viewing. Throughout watching the film, taking detailed notes is also a good idea. This will help the writing process and make it easy to refer to your in-the-moment thoughts and reactions.

2. Express your opinions and support your criticism.

Professional reviewers do not shy away from telling their readers whether they thought a movie was good, bad, or indifferent. In fact, readers rely on those reviewers whose tastes reflect their own. Be sure to back up these thoughts with specifics-a disappointing performance, a ridiculous plot, beautiful cinematography, difficult material that leaves you thinking, and so on. Professional reviewers can express why and how they came to their criticism.

3. Consider your audience.

Are you writing for a fan site or a news outlet? Who will read your pieces, and what are their interests? Knowing who your readers are can help you decide what elements of the movie to highlight. You can also adjust your writing style to fit the target audience and the tone they're used to reading.

4. Talk about the acting.

Many casual filmgoers will be inspired to see a movie if a favorite actor is in it, so you should probably spend a little space talking about the performances. Does the film feature a seasoned actor in a new kind of role or a brilliant performance from a rising star? How was the acting? Feedback about how well the actors handled the script, the dynamics in an ensemble, and so much more can help describe how the actors did in any given film.

5. Call out directors, cinematographers, and special effects.

This is where your film geek can really shine. Tell your readers about the highlights or missteps of directors, cinematographers, costume designers, and CGI. What worked, what surprised you, and what fell short of expectations are all great questions to address in the body of your review. It helps to have some knowledge of filmmaking, as well. That's why film students with writing experience can actually make great reviewers. At NYFA, for instance, many film students study a range of topics relating to film that can include screenwriting, producing, and much more.

6. No spoilers!

Give your readers some idea of the plot, but be careful not to include any spoilers. Remember, the point of a good review is to get people interested in going to the movie. Don't get over-excited and ruin it for them!

7. Study the professionals.

As with all writing endeavors, the more you read, the better. And when you read film reviews that you like (or don't like), think about why. Use your critical eye to consider why one reviewer has a hundred thousand followers and another only has two. Be sure to read the publications where you'd like your writing to appear as a template for your reviews, and don't forget to read the submission guidelines. A few examples of film review professionals include Rotten Tomatoes, Roger Ebert, and Film Comment.

8. Reread, rewrite, and edit.

Edit your work. Your opinions will not be taken seriously if you misspell the director's name or can't put together a grammatically correct sentence. Take the time to check your spelling and edit your piece for organizational flow.

9. Find your voice.

The best reviewers have a distinct personality that comes across in their writing. This does not happen overnight, so take every opportunity to write as an opportunity to develop your own style and voice that will grab the reader's attention and keep them coming back for more.

Learn More About Filmmaking at NYFA

Writing film reviews is a great way to pursue your passion for film. Ready to build even more skills in filmmaking? Request more information about New York Film Academy's filmmaking programs and workshops today!

кредит онлайн на карту под 0 zaymibistroru круглосуточный кредит онлайн

займ на киви кошелек без отказа zaymibistroru займы онлайн на карту без проверок срочно

# data[].attributes.attachment_link.title
How to Write a Movie Review: 9 Essential Tips

# data[].attributes.attachment_link.description
Love film and want to learn how to write a movie review? Learn more about writing the best possible film review!

# data[].attributes.attachment_link.readable_text
When it comes to college writing, there are many types of essays. Along with book reviews, students are usually required to do movie reports. Many students wonder why such assignments are so important. Actually, this kind of essays is common in college and other educational institutions across the world.

Most students like movies; however, they still face some problems when writing movie review essay. In fact, doing such an assignment is easier than it may appear. When students analyze different aspects of the film they are watching, they develop their critical opinion.

Thanks to film review homework, they learn how to find meaning in things which seem to be meaningless on the surface. Moreover, this kind of assignments makes students focus on details as well as helps them to improve their creativity.

If you are fond of both watching films and writing, then you will probably be lucky enough to create a good paper. To get a good grade, all you need to do is to pay attention to the smallest details, think critically, and use your vocabulary and writing skills to the full.

How to write a movie review for college

Usually, you are assigned to watch and review specific documentaries; however, it happens that you get the freedom to choose movies and analyze them on your own. Of course, if you have such an opportunity, then pick something that can be connected to the current events. It is good if your choice is of great significance!

Except for detailed analysis, your report should also contain your personal response to what has happened in the movie. However, make sure that your response is subtle. Avoid using expressions such as "In my opinion" or "As for me" and so forth as your paper should be unbiased.

When writing a movie review, format it in accordance with the specific formatting style guidelines or your professor's instructions. Nevertheless, there are common elements that a regular report should contain. They are following:

Movie title. Every essay should come with a title of the film. Except for mentioning it at the headline, don't forget to use it in the text by itself. It is advisable to name it in the introductory section. You may think that it is a stupid thing to pay attention to; however, it is included in the list of the most common mistakes made by students.

Summary. There is no surprise that the main aim of the review is to summarize the film for those who have never watched it. To create an effective summary, assume that your professor is one of those people. In such a way, you will not miss out the smallest details thinking that he or she has already watched the movie. To do a good job, tell a reader about what happened in the motion picture and express your own point of view on things like the plot, visual effects, and so forth. Don't hesitate to say whether you like the movie or not. Use some examples to support your opinion.

Filmmaker. When giving a movie review assignment, college professors may ask students to do a little research on the filmmaker. Therefore, devote a few paragraphs to the person who directed the movie. It wouldn't go amiss to mention his or her other works as well. This will help you to establish the significance of the piece you are working on for his or her career.

Creative elements. Filmmakers do their best to include as many creative elements into their movies as possible. Try to find out how these elements are important to the plot and motion picture on the whole. For instance, outfits can either enhance the film or confuse its intent. Vivid colors will create a lifted atmosphere while dull ones will add a tinge of sadness to the picture. High-quality sound effects will contribute to the superior viewing experience while bad ones will play a low-down trick. Moreover, the whole story will also depend on the camera movements and its angles alike. If there are any symbols in the picture, don't forget to mention them when writing a movie review.

Cast of the film. It is also advisable to mention the people who play in the movie. Point out whether the actors were effective or not. Write about their acting skills. Explain why particular actors are or aren't the right fit for their roles.

The elements of a movie review mentioned above don't come in any specific order. You can place them depending on various factors such as the professor's preferences, movie genre, course topic, film review format, and so forth. An important stage of the whole writing process is to arrange all of these components in such a way so that you can create an informative and functional essay. To sum up, make sure that your report is structured logically and is interesting to read further.

Useful tips and common mistakes

If you like discussing motion pictures you watch, then you will probably have much fun when creating your report. Below, there are useful tips on how to make a good movie review that will help you to write a successful summary:

Before getting to creating an essay, watch the film at least twice. Don't neglect to make some notes to memorize everything to the smallest details; otherwise, you are likely to miss out something important;

Do a little research about the movie on the Internet. Learn more about the filmmaker, film style, plot, locations, actors, and so forth;

To write a good paper, you should understand the movie. Therefore, it is important to analyze it the minute you finished watching it. Even though it will require a little time, you will have to evaluate the motion picture from the very beginning to the end;

Write an outline;

Use examples for everything you mention. If you think that the movie is bad, then explain your opinion. If you like or dislike some dialogues, then include some of them in your summary. Don't neglect to support all of your thoughts with evidence. This will help you to develop your critical thinking skills;

Look at the originality and quality of the scenes.

Even if you think that you know how to write a film review for school, you may still make some common mistakes. Continue reading to get to know how to avoid them:

First of all, don't focus on anything except for the movie. Don't include information on the history of cinematography or that particular film genre. Avoid mentioning unnecessary details;

Don't insert yourself. Even though your essay should reflect your personal opinion, it doesn't mean that you can write in the first person. As we have already mentioned, make sure that your report is subtle;

Remember to check information on the movie, its maker, and actors, etc. in different sources;

Always support your thoughts and ideas with examples;

Make sure that you stick to the particular film review structure.

Need some help with movie review writing?

Putting your thoughts on a paper is an excellent way of demonstrating your vocabulary and critical thinking skills as well as the ability to focus on details. However, it may happen that you lack those skills or you simply don't feel like doing any assignments. In such a case, you can always rely on our team of professional writers who will create a successful review within the agreed timescale taking into account your professor's guidelines and your personal preferences.

# data[].attributes.attachment_link.title
Recommendations on How to Write a Film Review Essay - 10PagePapers.com

# data[].attributes.attachment_link.description
Use this guide when writing a movie review: find useful tips and common mistakes one should know about to create a successful essay.

# data[].attributes.attachment_link.title
Careers in the creative industries - National College | National College Creative Industries

# data[].attributes.attachment_link.description
There have never been more opportunities for people looking to build a career in the UK creative industry - see the huge range of roles you could step into.

# data[].attributes.attachment_link.title
My First Job in Film: How to start your career in the UK film industry.

# data[].attributes.attachment_link.description
If you aspire to make films in the UK film industry, you can search through our career guides which answer the vital questions such as; how do I find work in the film industry? What are the responsibilities of the junior role in that department? What skills and qualifications do I need?

# data[].attributes.body
For your VFX Film

# data[].attributes.headline
Careers in The Film Industry - Into Film

# data[].attributes.subject
Careers in The Film Industry - Into Film

# data[].attributes.body
Careers, opportunities, education and training

# data[].attributes.attachment_link.title
Careers, jobs and skills training in film, TV, VFX, animation and games

# data[].attributes.attachment_link.description
We are investing in the future of the animation, film, TV, VFX and games industries in the United Kingdom. Find training, information, connections and advice on your career in screen.

# data[].attributes.body
Fill this in for section 4

# data[].attributes.attachment_link.title
49 Best Short Films That Every Filmmaker Needs to Watch

# data[].attributes.attachment_link.description
What makes the best short films of all time? We'll take a look at what the best short movies that every filmmaker can learn from.

# data[].attributes.attachment_link.readable_text
Job Vacancies

Get hired and become part of the Welsh Film and TV industry

Search or Register on our Directory

Create a profile on our directory of professionals searched by the industry

Education & Training Resources

Explore our educational tours, talks and resources

Our Screen Alliance Wales Showreel

We work with groundbreaking companies

Find work in the Film and TV industry

Get started with Screen Alliance Wales

Introduction by Jane Tranter

"When we decided to base Bad Wolf in Cardiff, our belief was that Wales had the locations, crew and supply chain to cope with the biggest and most prestigious productions that Bad Wolf had the ambition to make. We knew we would not - and could not - do this without growing and nurturing the talent we have in Wales.

To achieve the aim that all local people, irrespective of their economic or ethnic background, should have access to well paid local jobs 365 days a year, without being dependent on having prior connections to the industry, Bad Wolf set up Screen Alliance Wales to train production crews for these new jobs and build up Wales' infrastructure.

SAW offers a unique service, working with children from the age of nine in the classroom in school or at the studio to welcoming people from all ages on production whether it's a professional, training or work shadowing placements. Since SAW's inception they have worked with over 10000 people opening up opportunities and pathways to achieving Bad Wolf's vision of a sustainable workforce in Wales"

Jane Tranter, CEO Bad Wolf

The Screen Alliance Wales Education and Training initiative aims to raise awareness of the opportunities available to young people in the film and TV industry. From schoolchildren searching for inspiration, to college and university students looking for valuable experience to match their skills and knowledge, we provide professional expertise and experienced advice in our portal. If you've got the ambition, then SAW, in partnership with Bad Wolf, and other production companies will provide the inspiration.

Learn More

Breaking Barriers with Bad Wolf

Latest News and Features

It's time to strip away the mystery of working in the film and TV industry. A broad range of skills are required for every production - from accountants to prop makers, costume designers to set decorators. The Screen Alliance Wales training project aims to provide inspiration and focus for all people who want to develop knowledge, skills and contacts to prepare them for careers in the film and TV industry.

Learn more

Working with the industry to create the future of TV and Film

Key Partners

Bad Wolf

Bad Wolf is an ambitious production company, based in Wales. Founded by Jane Tranter and Julie Gardner, its purpose is to create drama with global reach, to establish a sustainable centre of excellence and to build worldwide momentum for the film and TV industry in Wales. Having provided the creative spark to bring Dr Who, Torchwood, Sherlock, Merlin and Casualty to Wales, productions attracted to Wales include Da Vinci's Demons, The Bastard Executioner, Will and The Collection. Having won an Emmy for The Night Of, Bad Wolf has produced Sky One's new fantasy series A Discovery of Witches and is currently working on the BBC adaptation of Phillip Pullman's His Dark Materials.

University of South Wales

USW is a major player in UK higher education and has a reputation for delivering excellence through its film and TV courses. It has campuses in Cardiff, Pontypridd and Newport and is renowned for its partnerships with employers across the creative industries. The University's expertise in film making and the reputation of their alumni is widely acknowledged. Many staff members are award-winning film makers who continue to work in the industry. SAW is the lead partner in USW's Film & TV School Wales, which provides students with many unique opportunities to build a successful career in 21st century screen industries.

# data[].attributes.attachment_link.description
Screen Alliance Wales provides useful information and services for people working in the film and television industry in Wales.

# data[].attributes.attachment_caption
Royalty Free Music by Bensound | Stock Music

# data[].attributes.attachment_link.readable_text
Safe For YouTube
& Other Platforms

Our Royalty Free Music is copyright safe, cleared and ready to use for YouTube, Facebook, Instagram, TikTok, Twitch, Vimeo, and most Platforms: Your videos are cleared forever, even if you close your membership or account.

Use Forever

All Pay-per-Track and All Access subscription plans get you a perpetual license valid forever. You want to cancel your membership?
Not a problem! All your projects using our royalty free music are cleared forever!

We use cookies for analytics, and to offer you a better browsing experience.

# data[].attributes.attachment_link.title
Music for Video Creators - Hear the Difference

# data[].attributes.attachment_link.description
Hear the difference! Top royalty free music freshly composed by independent artists. Use our royalty free music for YouTube videos, social media, films,...

# data[].attributes.attachment_link.title
O Brother, Where Art Thou? Official Trailer #1 - John Turturro Movie (2000) HD

# data[].attributes.attachment_link.readable_text
This web site provides free sound effects that you are able to use in any commercial, non-commercial, broadcast multimedia/audio visual production.

What do we get in return?
You must credit freesfx.co.uk if you use our sound effects or music in your project. How you do this is up to you but please make sure that you include our website URL in your credit.

What do we offer?
More than 4,500 individual sound effects files, all fully catalogued so you can search or browse through our sound effect categories to find what you need. And we aren't just sitting back to let it ride. We are still curating and adding new sounds to the site every month.

More than 850 music tracks in a variety of styles from Comedy to Patriotic.

You can use these free sounds in films, television programs and commercials, radio programs and commercials, public service announcements. You can make money by using these sounds in games or apps; on web sites, in blogs or podcasts. Check out our End User License (link below) for full details.

There are some restrictions in how you can use our sound effects and music, but they all make sense. You can't claim them as your own or distribute to other folks. You can't use the sounds in isolation; they must be mixed into other audio or visual elements in your project. But you can use them for a live theatrical performance, for instance if there is creaking door or a thunder roll that occurs offstage. That would be a perfect live performance use for our sounds. You can read all about this in our End User License (link below).

We think of sound effects as falling into 4 main categories: isolated sounds, specialty effects, foley sounds and background sounds.

Isolated Sounds
Isolated sounds include the sounds of everyday items like doorbells, car horns and telephone rings. These are the real and specific sounds that you hear such as dogs barking, guns firing, doors slamming and car tires screeching during a car chase.

Specialty Effects
Specialty effects include sounds that are designed to be used for objects and places that exist only in our imaginations. You might use special effects in cartoon, fantasy and science fiction productions. They would enhance the production by creating a special sound for a space transporter, the magic of a genie's brass lamp, or for gigantic purple people eater cartoon animals.

Foley Sounds
Foley sounds are crucial for motion picture and television productions; sometimes the use of Foley sounds is called audio sound replacement. The magic of Foley places footsteps into a film soundtrack - recreates the rattle of a coffee cup being put down on a table - provides the realistic rustle of clothing and the ever popular punch in the face. These and many other sounds must be dubbed during post production on the film's soundtrack in order to be heard by the audience. They are named after Jack Foley - a pioneer in the sound replacement field.

Background Sounds
Background sounds, or ambience tracks, provide the basic environment for a production. These sounds provide all of the subtle atmosphere that makes the film-goer or binge-watcher really feel like he is in a courtroom, a church, a train station, a thunderstorm or a jungle.

Freesfx.co.uk provides all of these sounds to you for your use in productions, games, live performances and more. Just credit our site in return.

# data[].attributes.attachment_link.readable_text
Welcome to the BBC Sound Effects Archive site

You can search over 30,000 BBC sound effects, experiment with them in our mixer, use them in your own personal/educational projects, or licence them for use.

You don't appear to have JavaScript enabled - you will need to enable Javascript to run this app.

# data[].attributes.attachment_link.title
FREE Blank Storyboard Templates (Instant Download) | Boords

# data[].attributes.attachment_link.description
Preview and download free, professionally designed storyboard templates, ideal for animation, film, video or simply telling a story. Available for Photoshop, Powerpoint, Word, or as a PDF.

# data[].attributes.attachment_link.description
Here are just some of the things we offer throughout the year Short film showcases to present your work on the big screen Networking events to build your contacts Masterclasses and mentoring from industry professionals Grants to fund new micro budget shorts Special screenings with guest…

# data[].attributes.attachment_link.readable_text
By Peter D. Marshall - When a first time Director steps on a set, blocking a scene can be one of the most frustrating and terrifying parts of their job.

If a director doesn't understand the concept of blocking and staging, and they also don't know how to speak the actor's language, they could end up wasting valuable shooting time.

Every film shoot is divided into five parts:

1. Block - determining where the actors will be on the set and the first camera position

2. Light - time for the DOP to light the set and position the camera for the first shot

3. Rehearse - camera rehearsal of the first set-up with the actors and crew

4. Adjustments - making lighting and other adjustments

5. Shoot - shooting the first scene (then repeat the process)

Blocking a scene is simply "working out the details of an actor's moves in relation to the camera."

You can also think of blocking as the choreography of a dance or a ballet: all the elements on the set (actors, extras, vehicles, crew, equipment) should move in perfect harmony with each other.

Here are 5 important blocking tips:

1. Having a shot list will help you during the blocking process. The shot list is like a map: it gives you a path to your destination but you don't always have to follow it

2. Let the actors show you what they want to do first, then, when you make a suggestion, it is based on something you have already seen

3. Where the camera is placed is determined primarily by what is important in the scene.

4. Blocking is like a puzzle: directors need to keep working at it until the whole scene works.

5. In Television and low budget films, speed is essential, story and block some scenes so that your action takes place in one direction (to avoid turning the camera around for reverses.)

For a more detailed explanation about blocking a scene, check out Filmmaking Article

Peter D. Marshall has worked in the Film and Television Industry for over 35 years. He also publishes the free monthly filmmaking ezine "The Director's Chair. You can check out his website at: Action Cut Print and his film directing blog at Film Directing Tips

# data[].attributes.attachment_link.description
By Peter D. Marshall - When a first time Director steps on a set, blocking a scene can be one of the most frustrating and terrifying parts of their job.

# data[].attributes.attachment_link.title
Watch the Best Short Films | Short of the Week

# data[].attributes.attachment_link.description
Watch the most innovative stories—Documentary, Comedy, Sci-fi, Horror, Experimental, Animation, Inspiration, Student films, Award winners & more short films

# data[].attributes.attachment_link.description
Website for Jodie Ashdown - writer and script editor.

# data[].attributes.attachment_link.title
Geraldine Geraghty | Producer, Director, Additional Crew

# data[].attributes.attachment_link.description
Known for: Me, Me, Me, Expedition Unknown, Golf Sale

# data[].attributes.attachment_link.title
How To Make An Electronic Press Kit For Your Film (EPK)

# data[].attributes.attachment_link.readable_text
Trainee Finder provides 'set-ready' training to talented individuals who can then apply for placements on UK productions which pay into the ScreenSkills skills funds. There are three programmes: animation, film, and high-end TV (including children's TV).

# data[].attributes.attachment_link.description
Investing in the people driving the success of UK film, TV, VFX, animation and games. ScreenSkills helps people get in and get on in a wide range of off-screen roles – training the people who make the shows the world loves to watch.

# data[].attributes.attachment_link.description
Your future in screen
🎥 Jobs 📱 Opportunities 📺 Advice 🎬
BFI Funded

# data[].attributes.attachment_link.description
This channel is no longer being updated. Please subscribe to youtube.com/bafta for the latest videos from BAFTA.

# data[].attributes.attachment_link.description
Welcome to the BFI, bringing you exclusive Screen Talks and Filmmaker Q&As from London’s BFI Southbank cinema venue, access to one of the world’s best moving picture archives, film trailers, highlights from our Film Festivals and original video content from new filmmaking talent. We believe society needs stories. Film, television and the moving image bring them to life, helping us to connect and understand each other better. We share the stories of yesterday, search for the stories of today, and shape the stories of tomorrow.

# data[].attributes.attachment_link.readable_text
NFTS Cymru Wales delivers a wide range of the NFTS's world-class short, certificate and diploma courses covering everything from Data Wrangling to Script Writing.

Our courses are aimed at anyone who is looking to upskill or progress their career as well as those in need of training to secure their first role in the industry. We also offer bespoke courses, designed and delivered to support the breadth of talent in Wales. We are perfectly located in the heart of the Welsh film and tv industry within the BBC Wales building in central Cardiff.

Meet the team
Head of NFTS Cymru Wales Rhiannon Forsyth
Development Manager Nicola Munday

Bursary Funding
Welsh Government funded bursaries are available for all courses to help increase diversity and equality within Wales's screen and television industry. They are designed to support those from under-represented groups and those who, without financial support, would find it difficult to access training and therefore job opportunities. For full details and the eligibility criteria, please see our guidelines (pdf).

# data[].attributes.attachment_link.description
NFTS Cymru Wales delivers a wide range of the NFTS's world-class short, certificate and diploma courses covering everything from Data Wrangling to Script Writin

# data[].attributes.body
Press Release: An announcement about the film, often serving as an introduction.

Synopsis: A brief summary of the film's plot, with different lengths (short, medium, long) sometimes provided for different uses.

Logline: A single, compelling sentence that summarizes the film's core concept.

Cast and Crew Biographies: Short, informative bios of key personnel, including previous work and accomplishments.

Credits: The complete and accurate list of everyone involved in the production.

Visual Assets: High-resolution production stills, the official movie poster, and a trailer or link to a tease

Director's Statement: The main theme of the film and director's vision