A short guide to making your video

A Short Guide to Making Your Video with Little or No Budget

"If it can be written, or thought, it can be filmed."
-Stanley Kubrick

The Three Steps of Filmmaking

Whether you are making a film, documentary, music video, television show or live event,
three steps must be taken in order for you to complete your project.

These three steps are: Pre-Production, Production and Post-Production

Though these steps are a part of a bigger whole they represent individual tasks that when
taken may drastically alter your vision for your project.

The project that you write may be wholly different from that which you shoot, and when
you get into the editing room, the footage you have may alter the vision you had when
shooting. If you are unprepared to bend to the whims of your imagination and the realities
of your production you will most likely find yourself beginning projects that you do not
finish.

When entering the realm of filmmaking you must give yourself over to the idea that the
project is alive: it is ever changing and as a filmmaker you can only guide it to its final
state.

Let us now break down each step:

Pre- Production
Pre-Pro starts with an idea. You want to make a film. You are going to need a script,
equipment, people to help you and time to do it. Pre-Pro is all about getting ready. And
getting ready starts with lists. Remember that pre-pro includes thinking and planning
about every phase of production until you are finished. Don’t start thinking about editing
and music when you are done shooting, think about it now.

Organization and Preparedness is the key to filmmaking.

Concept and Vision
Before you write your script it is a good idea to organize your thoughts on paper. This
does not need to be a complete breakdown, it can be a stream of consciousness type
writing. By writing down what you are attempting to shoot you can get a good idea of
what your concept or vision for the film will be.
Your vision need not only be your dialogue but should include the pace, setting, editing
style, color palate and themes of your piece. For example, maybe you want to shoot in
black and white, or have all your edits be people exiting the frame to the left… now is the
time to think these things out.

Scripting
Now that you have your thoughts in order, it’s time to start writing a script. Everything
needs a script! Even if you are making a documentary, shooting a live event or planning
on having your actors improvise, writing out a script will help you in production and post
production

*Documentary Script
If you are making a documentary your script may look more like a term paper than a
movie script. You should prepare your Doc script so all your interviews, voice overs and
B-roll are included. Most importantly you need to write out many more interview
questions than necessary and you practice asking them to yourself or a friend.

The following 4 steps of your script should be taken regardless of what type of film you
are making:

Draft Script
In this first phase you can use a program like CELTX (free script writing program) to
write. In this phase you are getting your ideas and dialogue on paper. You should limit
your technical direction and concentrate on your characters dialogue, motivation and
making sure your ideas are coming across correctly to the reader.
When you have a finished a first draft, read it out loud. Remember, this is not novel.
Your actors will be saying these lines, so they should sound good to you when you read
them as well. Let 2 or 3 of your trusted friends read your script. Ask them questions to
see if they “get” it. Then revise. Then revise. Then revise. When you are happy, move on
to the next step.
Remember that if you are shooting on a limited budget you must take this into
consideration when writing your script, or be prepared to change it. That Ferrari you
crash in the opening sequence is not going to pay for itself, so maybe instead of seeing
the crash a character can talk about it. When you don’t have the money, you need to get
creative.

Shooting Script
Now that you have a script you are happy with, its time to start thinking about how you
are actually going to shoot and edit this project.
The Shooting Script is the Draft Script with more technical details including the type of
editing transitions, camera angles, nods to color palates, props and costumes as well as
more stage direction and precise locations.

Script Breakdown
The Script Breakdown is a series of lists. In them, you break down the script to its bear
elements and make detailed lists. These lists should include: props, character dialogue,
locations, camera set-ups (meaning each time you move the camera), notes on audio,
costumes, equipment needs and so on.

Storyboard/Shot list
Some people can draw and some people can not. For those who can, a storyboard is a
great way to pre-visualize your camera set-ups and framing. It also provides a more
detailed vision to your crew and actors:

For those who can not draw or do not have access to a storyboard artist, a shot list can
provide the same detail in helping you plan your project. A shot list is basically a written
account of what a storyboard does visually:

Shot 9: "Actor's Studio" scene. Establishing shot of stage, seats, both Critic and The Boys. Wide enough to get sense of place.

Shots 10-15: Medium shots of them, some with the two boys in it together. Be sure to vary and get them talking sometimes and
listening at others, so it will edit together well. Could also go back to wide shot of both at once. NOT using OTS. Plan for editing...

Shot 16: Reaction shot of Critic being a bit bewildered by an odd answer of the boys.

Shot 17: Brief reaction shot of Critic smiling, laughing at something boys say.

Shot 18: Brief reaction shot of one or both boys being offended or confused (or both) by something Critic says. Get coverage.

**You can further augment both a shot list and a storyboard by adding technical notes
relating to sound, filters, props, etc.

Pre-Production Producing

At this stage you have engrossed yourself in the creative process that has enabled you to
actually begin Producing your film. This is not Production, or the actual shooting of the
film, this is the organization and planning that will get you there.

Of all the arts, filmmaking is the most collaborative. It is a team effort, and for that, you
need a team.

Building your team
Regardless of the type of project you are working on, it is always advantageous to get
some help. The help you need falls into two categories: Cast and Crew.

Cast
Your cast is anyone appearing in front of the camera. It could be an interview subject, an
actor or live musicians. Coordination with the cast is essential. You should have a Cast
List that has everyone’s phone number, e-mail, work hours and hours of availability.

Call to confirm your consistently. Call 2 days before the shoot, the day before and a
couple of hours before they are to arrive on set. Have a back-up plan for that day of
shooting. If they can’t make it or don’t show up who can replace them. Maybe its another
actor, maybe it’s a day of B-Roll shooting.

The best place to find actors is a local theater, or on the internet, there’s always
Craigslist. Using your friends or other non-actors are going to get you just that – people
who do not know the art of acting on film.

Crew
In many cases you may be the whole crew, but if you can, avoid this pitfall. If you have a
small or no budget, there are certain crew positions that will really help your shoot go
smoothly. They are: D.P. (director of photography), Producer, Script coordinator, Editor
and most importantly P.A.’s (production assistants). Here is a short run down of what
these peoples can do:

D.P. – In this case, a cameraperson. Can take care of the technical aspects while you
direct. Can also light the scene and coordinate sound.

Producer – Believe it or not, there are many people who are in film just to organize.
These are producers. Can make phone calls, coordinate locations, pick up the food and
water and remind you how much time you have left to shoot that day. Basically your
right hand person.

Script Coordinator – Makes sure you are getting shot what you need to shoot, helps
coordinate continuity and can assist you in deciding which scenes and when to shoot.

Editor – Bring your Editor on board early, not when you are done shooting. Having them
at the shoot can also help you devise a creative editing vision and also make sure you
have coverage.

PA. – Someone needs to picked up from home, you ran out of tapes, peoples are hungry
and they need lunch. A P.A. is your gopher. Many young people new to the film
experience will be a P.A. in exchange for being able to be a part of the process and learn
from it.

Again, you can find people using the internet, a local TV station (like the Peoples
Channel) or other filmmakers.

Lists and Locations
You’ve got your cast, your crew, your equipment and your script. But you are not ready
to shoot yet. You need to have several meetings with your crew and you need to either
rehearse your actors or practice your interview questions. You also need to lock down
your locations.

Locations
Often, shooting on location will be the biggest hassle you encounter. Having your
locations locked down and ready as early as possible is key.

Some notes on Locations
-Do yourself a favor, do not undersell your location time needs: i.e., don’t tell your friend
you only need their apartment for an afternoon when its going to take all day.
- Do not ever try to shoot at a business when it is open. Be it a bar or an office, you can
not get proper sound and framing when there are people not associated with your crew
there.
- If you are going to shoot in a public location like a park or street go there a couple of
time at the time you are going to shoot and location scout. You may need permits, there
may be construction scheduled or some other obstacle. Consult your town or city for
rules on filming in public.
- If you are shooting at a retail location (bar, store, etc.) you will most likely have to pay
someone their hourly wage to keep it open or open early. When you have chosen a
location such as this, ask for the owner or manager and work it out with them. Try to
impart to them your vision and hard work. Often times people like being involved with a
film and you may get the location for free.
- Most importantly: leave it like you found it, or better. Clean up after yourself and your
crew and be cordial to anyone who works or passes through the location. If there is a
problem, make sure you have the appropriate contact info to clear things up.

Lists, Again
Before you shoot you also need to go over the lists you made and revise them. Then there
are a few more you should make: A call sheet and a shooting schedule.

Shooting Schedule
Your shooting schedule is a detailed breakdown of when cast and crew should arrive on
the set and when and what scenes will be shot. Everyone associated with the shoot should
get this schedule.

You do not need to shoot in order of the script. You have all these availability lists (crew,
cast, locations, equipment) so you can make the most of your time. But be realistic.

Schedule your shoot an hour before you think it will begin and two hours past when
you think it will end.

The number one rule of shooting is HURRY UP AND WAIT. Things will always take
longer than you think.

Call Sheet
A call sheet is a daily breakdown of the shooting schedule but also includes breaks. The
call sheet also has everyone’s contact info and their personal schedule for the day. The
call sheet should be distributed the day before shooting so everyone is prepared.

Production
You are finally ready to shoot! The day has arrived and you are, of course, an hour early
to the set. In the following pages we will cover a lot of material: How to run a set,
Interview techniques, 5 tips to directing actors and then some more technical aspects of
shooting: Issues to consider when you are shooting, The basic elements of
cinematography and 3-point lighting:

How to Run A Set
-As a director you are the captain of the ship. Always remain calm and in control. If you
need to, walk away and think by yourself how to handle a problem.
-Remember that, most likely, no one is being paid so treat people with respect. Yelling or
bossing people around will get you bad performances.
-Take your time to compose shots and give other crew and cast members time for their
process when they need it, don’t force things. Be patient and let the creativity flow.
-Always start your shoot with a small meeting where you go over what you are going to
shoot and who needs to be on set.
-Bring snacks and water and make sure you know where the bathrooms are.
-Always be ready for an actor or location to cancel. Have a back-up shooting plan.

Interview Techniques
The purpose of an interview can be: to communicate expert analysis or in-depth
information on a subject (the “talking head” interview); to show public opinion or
knowledge about a particular issue (“streeters”); or to hear what important characters
have to say about the issue or event they are involved with. The following are some
guidelines, tips and technical considerations to help you make the most out of the
experience.

The Interview Process
- Introduce yourself and your crew when you meet with the interviewee.
- Explain in simple language what will happen in the interview, what kinds of
information you’re interested in, and what the footage will be used for.
- Have the person sign an appearance release form. Remember what constitutes
informed consent, and allow them the time they need to understand and agree
to what you’re asking.
- Remember, and let your interviewee know, that you can stop and repeat a
question or answer if you ‘ﬂub’ it the ﬁrst time, and that you can stop the camera
at any time if she is feeling uncomfortable or needs a break.
- When the camera starts rolling, ask the interviewee to state her name and spell
it, and, if applicable, state the name of the organization she works for and the
title of her position.
- Do some ‘warm up’ questions to help the interviewee get comfortable with being
on camera. Don’t ask your most important questions at the beginning of the
interview unless you have an extremely short timeframe.

- Try to balance a respect for allowing an interviewee to tell her story in her own
way with the need to stay on topic. If her story becomes too tangential,
respectfully and tactfully bring her back to the topic at hand.
- Suggest to the interviewee that she restate the question within the answer. For
example, if you ask what she thinks about salmon farming, it’s preferable that
she answer “I think salmon farming is…” rather than “I think it is…”
- Always remember that an interview is a relationship between two people. Ensure
that you are respectful of the interviewee and thank them for their participation
in the project. Give her your business card or contact information in case she
has any questions.

5 Tips to Directing Actors
- Set the scene. Remind them what happened before and what will happen after and
where their character is emotionally at this point in the film
- Give them time. Be patient. Every artist has their technique and process. Notice and
take cues of when to leave them alone or when to encourage them
- Always give congratulations after saying cut. Then give notes or critiques if necessary
- Do not manipulate them. A common film misconception is that a director should scream
at an actor before a scene in which they are angry, etc. This is silly. Talk to them and
communicate as openly as possible.
- Let them do at least one take their way. They may have a better idea of their character
than you. Give them a try.

Issues to Consider When You’re Shooting
Basic Check list before a shoot:
Camera (fully functional)
Batteries (all charged)
Video tape (extra stock)
Tripod (with mounting plate)
Headphones (working)
Microphone (check battery, cables)
Props
Script

Issues to consider during the shoot:
Watch your cables! Set safety is always a priority, particularly when you have
multiple cables running from mics, lighting gear.

1) White Balance
-Outdoors, sunlight and Fluorescent light have a high temperature causing objects to appear
bluish.
-Indoors, candlelight and incandescent light have a low color temperature causing objects to
appear reddish.

Bring a white card or paper to use for white balancing. White balance compensates
for the difference in color temperature to give a natural result on videotape. Most
consumer video cameras have auto-white balance.

2) Focus
-Always use manual focus
- Focus by zooming all the way in, focusing and then zooming out

3) Iris/Shutter Speed
-Iris settings are usually set on automatic,.
-A higher shutter speed will prevent fast-moving objects from looking blurred,
however, the higher the shutter speed the less light allowed into the camera.

4) Audio
-Always use an external microphone to reduce camera noise and gain more control
over the acoustic environment.
-Always use headphones during a shoot to ensure audio quality
-The noisier the environment the closer the microphone has to be to the subject
to separate the background sound.
-Always record a 2 to 5 minutes of just ambient noise or room tone
before or after a shoot. Ambience can be used to mask breaks in continuity during
editing.
-Consider recording “sonic events” at a location (clock chimes, alarm bells,
machinery, etc). They can be very effective in editing, but can also create a
distracting interruption in your scene if you are not prepared.
-Audio is often the difference between amateur and professional video
production.
-Try to reduce as much ambient noise as possible: turn off fans, radio, TV, even
fridge if it is loud. Keep out of the wind.
5) Always begin recording 2-3 minutes before you call action and stop recording 2-3
minutes after you call cut. Sometimes the best shots happen spontaneously

6) Instruct whomever is in front of the camera to begin speaking 5-10 seconds after you call
action and to continue even after you say cut.

The Basic Elements Of Cinematography

Shot Types

There is a convention in the video, film and television industries which assigns names
and guidelines to common types of shots, framing and picture composition. The list
below briefly describes the most common shot types.

EWS (Extreme Wide Shot)
The view is so far from the subject that she isn't even visible. This is often used as an
establishing shot- the first shot of a new scene, designed to show the audience where the
action is taking place.

VWS (Very Wide Shot)
The subject is visible (barely), but the emphasis is still on placing her in her environment.
This often works as an establishing shot, in which the audience is shown the whole
setting so they can orientate themselves.

WS (Wide Shot)
The subject takes up the full frame, or at least as much as possible. This is the same as a
long shot. The small amount of room above and below the subject can be thought of as
safety room - you don't want to be cutting the top of the head off. It would also look
uncomfortable if her feet and head were exactly at the top and bottom of frame.

MS (Mid Shot)
Shows some part of the subject in more detail whilst still giving an impression of the
whole subject. The MS is appropriate when the subject is speaking without too much
emotion or intense concentration. It also works well when the intent is to deliver
information, which is why it is frequently used by television news presenters.

MCU (Medium Close Up)
Half way between a MS and a CU. This shot shows the face more clearly, without getting
uncomfortably close.

CU (Close Up)
A certain feature or part of the subject takes up the whole frame.

ECU (Extreme Close Up)
The ECU gets right in and shows extreme detail. You would normally need a specific
reason to get this close. It is too close to show general reactions or emotion except in very
dramatic scenes.

CA (Cutaway)
A shot of something other than the current action. The cutaway is used as a "buffer"
between shots (to help the editing process), or to add interest/information.

Cut-In
Like a cutaway, but specifically refers to showing some part of the subject in detail. It
can be used purely as an edit point, or to emphasize emotion etc. For example, hand
movements can show enthusiasm, agitation, nervousness, etc.

Two-Shot
A comfortable shot of two people, framed similarly to a mid shot. Two-shots are good
for establishing a relationship between subjects. If you see two sports presenters standing
side by side facing the camera, you get the idea that these people are going to be the
show's co-hosts. As they have equal prominence in the frame, the implication is that they
will provide equal input.

(OSS) Over-the-Shoulder Shot or (SRS) Shot-Reverse-Shot
Looking from behind a person at the subject, cutting off the frame just behind the ear.
The person facing the subject should occupy about 1/3 of the frame. This shot helps to
establish the positions of each person, and get the feel of looking at one person from the
other's point of view.

Noddy Shot
Common in interviews, this is a shot of the person listening and reacting to the subject. In
fact, when shooting interviews with one camera, the usual routine is to shoot the subject
(using OSS and one-shots) for the entire interview, and then shoot some noddies of the
interviewer once the interview is finished. The noddies are edited into the interview later.

Point-of-View Shot (POV)
Shows a view from the subject's perspective. There are 2 types of POV shots: those
which actually mimic a subjects eyes and those which are regular camera shots from the
angle of their perspective.

Notes: Indecisive cut and shock cut
When cutting from a shot to another shot of a different shot size (e.g, from a wide shot to a
medium wide shot) while framing the same subject, the difference in image size must be decisive.
If the size of the subject does not change sufficiently, you will get the unpleasant effect of an
indecisive cut and the audience will perceive it as a mistake or a distraction.

On the other hand, when cutting from a shot to another shot of a significantly different shot size
(e.g., from a wide shot to a close-up shot), you will produce a shock effect which is most likely
inappropriate. The usual compromise is to have a shot of a shot size that is in-between the sizes
of the two shots (e.g., from a wide shot to a medium shot, and then to a close-up shot).

Shots with different camera angles. Another one of the major distinctions among types
of shots is the camera angle. Changing the camera angle changes the appearance and function
of your shot.

Horizontal camera angles. Moving the camera around the subject horizontally while
aiming at the subject creates different camera angles below:

1. Frontal. The frontal angle tends to flatten the three dimensionality of facial features and
environments.
2. Three-quarter front. The three-quarter front angle is more often used than the frontal
angle or profile because it shows more depth and volumes.
3. Profile.
4. Three-quarter rear.
5. Rear.

Vertical camera angles. Moving the camera around the subject vertically while aiming at
the subject creates different camera angles below:

1. High angle. The camera is placed above eye level, looking downward. A high angle shot
can make a character look smaller, younger, weak, confused, or more childlike.

2. Eye level. Most commonly used.

3. Low angle. The camera is placed below eye level, looking upward. A low angle shot can
make a character look bigger, stronger, or nobler. It also gives the impression of height.

High angle Low angle

Note: Indecisive cut
When cutting from a shot to another shot with a different camera angle (e.g, from a frontal shot to
a three quarter front), framing the same subject, the difference between the two camera angles
must be greater than 35 degrees. If the difference is less than 35 degrees, and the appearance of
the subject does not change sufficiently, you will get the unpleasant effect of an indecisive cut
and the audience will perceive it as a mistake or a distraction.

180 degree rule
If you are using multiple cameras and plan to edit the different shots in a scene into a seamless
sequence, an important rule to keep in mind is to place all the cameras on the same side of a line
of action. A line of action is a path which your subject is traveling along or an imaginary line
between two characters that are interacting. This rule is called "180 degree rule".

Look at the following camera placements:

If Camera 2 and Camera 4 are used, the audience crosses the line of action. It's disorienting and confusing.

Camera moves
There’s a tendency among camera operators, especially beginners, to be continually moving the
camera – zooming in, zooming out, panning, etc. A camera move should have a purpose. It
should in some way contribute to the viewers’ understanding of what they are seeing. If it doesn’t,
the move distracts and calls attention to itself.

Pan. The camera rotates from side to side, so that it aims more to the left or right. This is
a way to reveal new information. An effective way to lead your viewer through a long pan
is to follow a smaller object (a person walking, a car) as it passes by your subject, leading
the move.
Tilt. The camera rotates to aim upward or downward without changing the location.
Tilt is sometimes called "pitch".
Zoom-In. In general, a Zoom-In (from WS to CU) directs our attention to whatever it is
we’re zooming in on. So if you zoom in, to zoom in on something interesting or important.
Zoom- Out. A zoom-out (from CU to WS) usually reveals new information. Often it tells
us where we are. For example, you can start with a CU of man’s face talking about
flowers, then zoom-out to reveal that he’s surrounded by flowers.
Dolly. The camera's actual position changes, such as to move alongside a moving
subject or to travel closer to a character during a scene. Dolly in moves the camera
closer to the subject. Dolly out backs the camera away from the subject. Dolly in and
dolly out are sometime called "track".

Note:
Camera moves limit your editing. Either you leave the whole move in, and your viewers sit bored
for ten seconds of silence, or you cut in and out of a 5 second piece of the zoom, which is visually
jarring. The safe thing to do is shoot your move, then cover yourself with a couple of static shots
of the same thing. You’ll be glad you did when you start editing.

Composition Rules: The followings are useful guidelines you can use when composing a
shot.
1. Rule of thirds
Rule of thirds divides the frame into thirds both horizontally and vertically. The points where the
vertical and horizontal lines cross are aesthetically pleasing spots to place subjects or to have
perspective lines converge. It is usually best to avoid placing horizon lines exactly in the middle of
a frame, but to place the horizon either above or below center, approximately one-third or two-
thirds up the height of the frame.

2. Avoid frontal angle
The frontal angle tends to flatten the three dimensionality of facial features and environments.
Angling the shot produces more depth and volumes.

Shooting straight against Angling the shot into walls
walls produces flat produces receding
compositions with little sense perspectives and a better
of depth in frame. sense of depth.

Some notes on shooting for Interviews
- In general, a location that reflects the identity of the interviewee makes for more
interesting footage than a studio. For example, a ski hill looks more ‘natural’ for
an interview with a snowboarder than a studio chair.
- When choosing your location, keep in mind what the background you use will say
about your interviewee. For example, if you are interviewing a young mother,
choosing a messy kitchen will give your audience a different message than a sunny
playground.
- If your interviewee does not want her face to appear, try placing her with her back
toward a bright light or bright window to create a silhouette effect with the
exposure. You can also frame creatively to exclude her face - such as showing
hands, legs walking, back to camera, interesting and relevant images in the scene.

The Standard 3-Point Lighting Technique

The Three Point Lighting Technique is a standard method used in visual media such as
video, film, still photography and computer-generated imagery. It is a simple but versatile
system which forms the basis of most lighting. Once you understand three point lighting
you are well on the way to understanding all lighting.

The technique uses three lights called the key light, fill light and back light. Naturally
you will need three lights to utilize the technique fully, but the principles are still
important even if you only use one or two lights. As a rule:

If you only have one light, it becomes the key.
If you have 2 lights, one is the key and the other is either the fill or the backlight.

Key Light

This is the main light. It is usually the strongest and has the
most influence on the look of the scene. It is placed to one
side of the camera/subject so that this side is well lit and the
other side has some shadow.

Fill Light

This is the secondary light and is placed on the opposite
side of the key light. It is used to fill the shadows created
by the key. The fill will usually be softer and less bright
than the key. To achieve this, you could move the light
further away or use some spun. You might also want to set
the fill light to more of a flood than the key.

Back Light

The back light is placed behind the subject and lights it from the
rear. Rather than providing direct lighting (like the key and fill),
its purpose is to provide definition and subtle highlights around
the subject's outlines. This helps separate the subject from the
background and provide a three-dimensional look.

Tips on Working with Lighting Equipment
• When working with artificial lights, use gloves — they get very hot very quickly.
• Don’t touch bulbs with bare hands when changing them. The oil from your skin
may cause them to shatter.
• Keep cords away from high traffic areas if possible, and tape down your cords
with gaffer tape to avoid knocking down lights and/or injuring people on set.
• Explore the use of gels, filters and diffusion materials to achieve interesting
lighting effects.
• Keep bounceboards (pieces of white foamcore will do) with you, whether
shooting indoors or in sunlight. They are tremendously versatile tools — you can
use them to reflect light into shadow areas, cut down on bright sunlight,
create ‘softening’ effect by lighting your subject with reflected light from the
bounceboard, et cetera.

A note about light sources
Whether you’re working with artificial lights or sunlight, the physics of light is the
same. Hard light from either source will give you hard-edged shadows and pinpoint
highlights on reflective surfaces. Soft light (bounced or diffused) will give you more
flattering ‘wrap around’ light and more gradual transitions into shadow. Flat or
nondirectional light will minimize shadow thereby limiting a sense of three-
dimensionality in your scene.

Post-Pr od ucti on
Now you are done shooting and it is time to edit. After mastering your editing software,
here are some helpful hints for post-production:

- Be organized. Label your tapes and keep them in a safe place.
- Make a log sheet. Watch all your tapes and make note of the timecode on good and bad
takes, b-roll and incidental shots you may want to keep.
- Be prepared to slog through it. Editing takes the most time of any step. Don’t give
yourself a ridiculous timetable to finish. It will take weeks longer than you think.
- Go back and look at your editing notes you made in pre-production, always have those
notes and your script with you when you edit.
- Cut on action. The basic rule of editing.
- Avoid flashy transitions. Use cross-fades, fade-in/fade-out and cut to black. Unless you
are a doing an experimental video, keep it simple.
- Re-watch all your footage even after you have logged it.
- Make a super rough cut, then a rough cut, then work from there. Cut it, watch it, take
notes, continue this process until you are satisfied.
-Let a trusted friend watch your rough cut. New eyes are always a good thing.
-Music, titles, sound editing, color correction and effects should be added only after you
have a rough cut.

A short guide to making your video

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