brooks lockwood

When film school was finishing up I was frantically looking for work anywhere and everywhere. My fears of not finding a job and having to move back home with my parents were in alignment with all college students echoing in Pomp and Circumstance. I didn’t want to take an internship. I wanted to land a job. I wanted to impress everyone at that job and propel forward to the next job, and then the next. I came back down to reality and realized that I just doesn’t work like that. I needed an a foot in the door.

The Internship.

In the entertainment business there are two ways to get in. One of those ways is being born into the industry, the other way is to start by working an internship/apprenticeship. Sure there are always exceptions, some people get lucky and land a great job out of the gate, but I’d be willing to bet even though on the surface it looks they lucked out they really worked hard for that. Of course some people just get lucky as well, but that is very few. Here are some things to think about while searching for an internship.

Utilize your contacts.

Your contacts are the most powerful tool that you will ever have besides your reputation. A lot of people are afraid to use their contacts. Don’t be. I was able to get my first internship on a feature film by keeping in touch with a teacher from school that I developed a professional relationship with. When it came time to graduate, he basically asked if I wanted to work on a film, and that he had a friend that owed him a favor, and just like that I was on a film working heading in the direction I wanted to be going. Try your hardest to never burn a bridge, because when work is slow you need to and should be calling everyone.

Weigh your options.

Though it can be very tempting don’t always take the first offer for an internship that you get. If you have more than on opportunity weigh you options. Is it paid or unpaid? How much experience will you garner from one or the other? Are there immediate opportunities after the internship is over? These are all questions that you need to be thinking about.

Set ground rules.

Internships depending on what job and role should not last more than one to three months. I did an internship during a film, and we shot for 24 days on set. If you are working any longer than a month I would consider other options unless there is a promising offer after the internship. One of the biggest ways to get work in this industry is through experience and exposure. So spending too much time at one internship can hurt you in the long run. Make sure that if it is a paid internship that you talk about that from the beginning. Don’t wait until the end, because there is a greater chance for confusion, buying bridges and getting burned. Spend time talking about your expectations on the job, and the hours you will be working. Get it in writing if you can. This will save you tons of time later on, and won’t allow them to take advantage of your free or low cost labor.

Be flexible.

Even though you want to go into your internship having all of your ducks in a row don’t get too caught up. Being difficult to work with will almost guarantee that you won’t be working with these people after you finish your internship. The best way to learn is to make mistakes often, quickly, and keep moving forward. Working a few extra hours here and there won’t kill you either. In production overtime is expected and planned for, so get used to it.

Question: What is your biggest “unknown” concerning internships?

It’s the look everyone is going for, and few know how or why. It’s amazing that you can throw on the automatic mode in almost any camera or use an iPhone to achieve exceptional depth of field today, but thats no fun. When I first began learning about this technical essence and how you can manipulate it to make great images I was enthralled. You can get very technical with depth of field, but we are just going to cover the basics. If you are interested in working in the camera or lighting departments, or becoming a cinematographer this will be something you will end up needing to know like the back of your hand.

Depth of field.

You will also see in books and trade magazines refereed to as DOF (depth of field) and since we will be using the term often within this post this saves me some serious typing. What is DOF? Here is the definition that I learned in film school, and the one that in my research I found that is the most simple. Depth of Field - is the distance between the nearest and furthest objects within a scene that contains an acceptably sharp area. Many often think that “good” DOF is when there is are large blurry areas, when actually the DOF is the area that is in focus.

Four Factors.

There are four major factors that affect depth of field (DOF). When you are aware of these factors you can then begin seeing differences in your images. You will start to grasp the concept the more you shoot and keep this front of mind.

Camera Placement/Subject to Camera Distance

Where you place the camera is often the first step when you begin shooting. It is key for the cinematographer and director to know where they want to place the camera and subject for the scene. This is the building block of composing a frame, and it also will establish a working area of the set for the crew to begin their various work.

Focal Length/Lens Type

The Focal length of the lens is the distance from the film plane to the end of the lens. The standard measurement for lenses focal length is measured in Millimeters.

Aperture/F-stop

Aperture is the size of the opening hole in the lens through which light travels. The larger the hole of the aperture the narrower or shallower the depth of field is. When the aperture opening is larger in size the number indicating the measuremeant is smaller. A smaller hole of the aperture equals a greater depth of field, and is indicated by a larger number.

The diagram above illustrates the opening of the aperture. The standard aperture openings of a lens are  f/1; f/1.4; f/2; f/2.8; f/4; f/5.6; f/8; f/11; f/16; f/22

A good trick to memorize these sizes is that every other size doubles. This was a great trick that one of my teachers taught me, and that way you only really have to remember half of them. Once you know them however, you will remember them for a long long time.

Format

Format refers to the medium you will be capturing the image on. A 35mm camera will yield a larger, yet narrower/shallow depth of field than a 16mm camera that will give you a smaller, but further depth of field. Every camera is different and especially today with digital camera make sure to see what size the sensor is so that you can properly calculate the DoF.

Question: How does Depth of Field help tell a story?

Many filmmakers don’t end up in the typical 9-5 routine that a large portion others do. Where does that leave filmmakers then? You may have heard about freelancing, or freelancers, but that is such term a general that covers a lot more. If you head into film there is a good chance that at some point you will be a freelancer. It doesn’t just mean you will be on your own, it means you have to have a different mindset when it comes to work.

We have been raised in a culture where you go to school, study, get a job and thats it. More and more people are turning to freelancing to either supplement their income, or become their own boss. Who doesn’t want to be their own boss?

When it comes to starting out freelancing there are a things to keep in mind that often get over looked or over thought.

Full time or on the side.

Freelancing is on your terms, you don’t have to quit your job or school to start, you can start right now. A lot of people get their start while dabbling with their passions while in school, or at another job. You are responsible for obtaining your own work. That sounds great, but that also mean you might have to some jobs that you don’t want to in order to pay the bills.

Make mistakes.

I have learned some of my most valuable lessons from my biggest mistakes. The way I look at it, its better to make those mistakes in school or even before so you can correct the problem that much faster. Freelancing is mostly trial and error. Find what works, and take that success to the next project. Everything that didn’t work, leave it behind and move on.

Find a mentor.

Finding someone who has been there before you is a huge help when getting started in film. Don’t find someone that will hold your hand, find someone that will keep you accountable, that you can trust and be honest with. Its best to find someone that physically lives close, or someone that you could easily vista. I find it is hard to keep accountability over the phone or a video chat, it just doesn’t work well. When I started interning on a feature film, the guy who helped me get on the film naturally fell into a mentor role with me. Not only did he continue to bring me onto other projects, but he didn’t hold any piece of information back from me.

Remember your passion.

You have a passion for film, or whatever else it may be. Don’t ever forget that. Your passion is the fuel for your career. Personally I found myself hating the word passion over the last few years. Its just so over used, especially in this industry. Get used to it, that will be a question you will be asked daily in the film world because everyone starts out at the bottom and people want to know where you want to end up.  Use whatever you word you like, but be prepared to see your passion evolve and form as you continue working. Have your answer ready without hesitation That will say a lot.

Question: What misconceptions have you encountered about freelancing?

140 characters never had much impact on what others thought of you before Twitter. So having a Twitter account that reflects personality, and professionalism has never been more important  than now. As Twitter continues to surge forth in the social media realm its becoming an important tool for filmmakers. Even though I was on Twitter from the beginning I wasn’t using it correctly, or to the best of my advantage as a filmmaker/freelancer. Here are some things to keep in mind for your Twitter page.

Use a clear and relevent Profile Image.

One of the first things you notice or recognize users by is their profile image. A lot of spam accounts don’t have an image at all, so simply having an image will help distinguish you as a real user.  This doesn’t mean to throw creativity to the wind, just make sure the image is a good representation of yourself or brand.

Have a clear and precise description.

Only 160 characters are available in the description, so make it short and clear.  Many users use descriptive words to show what they do or like, often followed by their blog link or website. Here is the description for Skip Film School below.

Don’t be afraid to change your description as you grow in your trade. If you acquire new skills add them, or if you are working on something exciting post the link in your description. When a new user follows me, the first thing I go to is their photo, and description to see what they are all about.

Open Up.

Tweeting doesn’t do you much good if others can’t find you and don’t have access to your tweets. There are two crucial options that I recommend that you take a look at.

Tweet privacy.

The Tweet Privacy option allows others that are not following you to view your Tweets. This is especially helpful if you use a lot of hashtags (#) in your posts, or want to add followers. I do tend to get some spam accounts following me from time to time, but usually these get flagged and automatically removed within a few days. You can even flag them yourself if you are worried about anything.

Let others find you with your email.

This is a great option for existing friends trying to reconnect via Twitter. This option will also show up when you create an account, and then you could have the ability to have Twitter search your contact for potential existing connections. This is a good way to find someone too if you have their email but aren’t sure what their Twitter handle may be.

Post.

Make sure that you are using your Twitter. If you are not using consistently you won’t be getting the results that you desire. Like I mentioned earlier, if you learn something new post it. When you finish a product post a link and spread the word. Twitter is one of the best places for short and free feedback amongst a variety of friends, family, colleagues and complete strangers.

Question: What social network do you feel more comfortable with?

This is a guest post by Ryan Wakefield. He is a Stewardship Campaign Consultant at AG Financial Solutions, a company that helps ministries grow to their fullest, through developing stewardship and cultivating generosity. He’s a talented creative, who is passionate about orgranzation and growing with purpose. He co-created File Skunk, a simple and invaluable tool for creatives looking to get organized with their file management.  You can learn more about Ryan here and follow him on Twitter.

Let’s face it, most creatives are not by nature very organized.  Yet, organizations need the creative team to be organized in order to maximize the creative impact. You have to keep in mind that you’re not just creating to create, but you’re creating to move an organization forward.

In my opinion this starts with an organized office and workspace.  One of my biggest pet peeves is a creative team that makes a total mess out of their workspace.  It tells me they have a short-sited view of creativity.  They may be producing cool things, but they’re not operating at a higher level that sees how systems can be used to save them time over the long haul and extend the life of their creativity.  Please note that I am all for creative spaces, but make sure that doesn’t mean trashy environments.

Once you have an organized work environment then you still need to pay attention to the details of organization throughout your creative process.  Trust me, these details matter, and add up to make big differences over time. In the end details can make the difference between a good team and a great team.  This may sound extreme at first but you should be concerned what your computer desktop look like, how you name files, how you label design layers, how you set up project files, how you label the final media, and how you archive the assets.

About a year ago I worked with a team of friends on an online tool to help people with their file names.  Most people in the workplace name files at least weekly if not daily. Yet, the vast majority of people do not have a system for how they name their files.  So we created FileSkunk.com to take the “stink out of file names.”  FileSkunk.com is still in its free beta form, and it’s very simple to use – hopefully so simple I don’t need to waste your time with instructions.  The problem with FileSkunk.com is that it works too good.  After you use it for a month it trains you on the system and you don’t need it anymore.

Organization through your process will save you time, money, resources, energy and headaches.  Furthermore, it helps you build your credibility throughout an organization and in your field.  When you’re organized, people notice and that will add weight to what you say.

In this media inundated world you have likely heard the “rule of thirds” thrown around a few times. The term is simply a practical standard for composing shots in film production or photography. While it isn’t the end all be all rule of composition, it is the foundation of most framing techniques. Yes, this does involve those pesky lines that show up on your camera screen from time to time.

What is the Rule of Thirds?

The rule of thirds is a concept in film and video that places an imaginary grid on the frame that is image is divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. This is not always the desired framing, but it is the foundation for many framing techniques and often the first lesson on composition. This framing technique is designed to create tension with the subject and engage the audience more. The history of this technique dates back to the late 1700′s and is still widely used today.

Subject Placement with the Rule of Thirds.

The subject or interest of the frame should be placed at either 1/3 or 2/3 of the way up or across the grid. This technique draws the eye to the subject and makes the frame more interesting. In the graphic below you will see some red dots (power points) and bold lines across. When placing the subject at the power points and along the lines you attract the attention of the view more readily.

Composing a frame using the Rule of Thirds.

Most cameras have a grid mode built in, so in the settings turn it on. It might be distracting and annoying at the beginning, but soon you will be composing shots using the Rule of Thirds and not even realize it. Then you can switch this function off easily. If you don’t have a grid mode available on your camera you can either tape some black yarn in a rough grid onto your camera, or use some saran wrap over the screen and draw the lines with a ruler and a sharpie over the saran wrap (use caution with the sharpie and make sure you are not marking on the monitor or screen).

When filming actors they are usually the key subject of the frame. Typical framing would have the vertical line align with the actors body and the horizontal line meet the actors eyes.

Below you will see an excellent example of the rule of thirds. If you were to lay a grid over this photo the power point and lines would intersect right at her upper eye. Since the subject is lying down the horizontal line is on the body and the vertical line is lined up with the eyes.

Here is another image where the rule of thirds is NOT used correctly. The tree is almost dead center in the frame. Although the image is still very pleasing, and has wonderful colors if the tree were just slightly framed more to the left there would be quite a bit more natural flow to this photo. To me it seems like the tree is almost getting in the way of the sunset, rather if it were further left or right it would work with the sunset more.

A film set is a lot like an artful militarized machine. There are departments,  higher ups, and people you report to directly. This is what filming has been like since the very early days. The director is in charge of the vision of the piece, so he doesn’t have time to worry about the placement of the lighting. He leaves that up to the Director of Photography/Cinematographer, and they leave that up to the Gaffer, who then will literally place the light himself or have one of his electrics place the lamp. A lot of creative processes have workflows and managers, but when I began in film I had no idea that it was this organized.

Benefits of film set hierarchy

Natural path of progression.

When you start working in film you don’t have to know where you want to end up, if you do however that is great. When you work on set in a specific department that provides you with a natural progression to move up the ladder. It’s great because it gives you the freedom to explore opportunities, talk to people that have been there before you, and set your sights on where you want to end up. Seeing others in the position first hand is good to get a sense of what you could end up doing.

Communication.

Filming with 40+ people, communication can become quickly scattered. Having everyone broken down into their own departments and roles streamlines communication and filters it through the proper channels. Almost every set will have waklies and headset so that you can keep in touch with everyone on set. Each department will have their own channel (1-16 normally) and you will primarily stay on that one channel, unless you need to get in touch with another channel.

Time.

Time is literally money when shooting a film. Department and roles disperse the responsibility evenly so that one single person isn’t managing everything. The 1st Assistant Director will help bring the departments together, and make sure everyone is doing their job on time, but other than that the main responsibility lies within the department heads. On a feature film you should expect to shoot 10-15+ pages of a script a day. That is no easy feat, and you have to be on top of your responsibilities at all times.

Drawbacks of hierarchy on set

Collaboration.

Since departments and responsibilities are so separated you don’t get to mingle and collaborate between other departments and people on set. This can really hinder the creative process when you are troubleshooting an issue and you can’t have proper criticism, feedback ,or input from other people.

Out of date.

The hierarchy of working on a film set is really out of date. The problem is that everyone in film is very set in their ways and aren’t willing to experiment or try other ways. This is understandable because of the way film works and always has, but to me it just isn’t the most productive, and collaborative art form around these days. Many cutting edge filmmakers have enough trouble just getting their ideas produced and out there, that this is probably the last thing on their minds. As technology evolves I am sure the workflow will continue to evolve and make strides towards a more creative and collaborative form, but until then keep experimenting on what works best and utilizes everyones talents on your own projects.

Question: Where do you find yourself in the film hierarchy?

Often viewed as a necessary evil of the world, advertisements and commercials are a major part of the film industry. Advertisment is evolving with new forms of online and social media. That brings more opportunities for filmmakers to get involved and find work. Commercials are ran just like a film set in regards to the structure and hierarchy. The huge difference is there are clients involved. Clients are also another necessary evil in the creative world. Sometimes they aren’t so bad, other times their control can be brutal. They can make or break a shoot.

Making Spec Ads

Exposure + Experience +Experimentation

Filming your own commercials (commonly referred to as “spec ads” ) can be really rewarding and a great way to break into the industry. Spike Jonze is one of the best commercial directors around. He cut his teeth filming skate videos and spec ads. That eventually turned into a ton of commercial work. Spike has even directed three feature films in combination with shorts, music videos, and a slew of commercials. He stays busy, and uses the diversity of project formats to build his creative arsenal.

Just like music videos, for the amount of time and effort invested spec ads can take you places fast if they original, fresh, or new. Try just getting a few people together, gather a favorite service or product, and add your own creative touch. There are even sites specifically designed to make your own spec ads so that companies can buy the ads you create. Check out VidOpp, they have links and requirements for all online video competitions.

On a commercial

Getting on.

Landing a gig on a commercial can be tough. Most crews that work on commercials stay in a tight group, and keep hiring the same people over and over. So if you get in, make yourself memorable.

Set etiquette.

I know you didn’t get involved in film to hear the word etiquette get thrown around. Neither did I, but on a commercial this is a key thing to remember. Keep busy. I can’t stress enough the importance of keeping busy on set. Yes there are times to take breaks, and have fun, but on a commercial those times should be few and rare. The reason is that most commercials only shoot for one day. Because commercials tend to only shoot one day, you can’t afford to waste the time you have. Let people know you exist, and do that by working hard.

Come with energy.

As mentioned earlier, most commercials only shoot for one day. That one day could end up being anywhere from 8-16+ hours depending on what the client thinks and how many different ways they need to shoot the commercial. You can bet you will be there until its done and done right. Sometimes they have a basic concept, but want to use the commercial across the web, television, print, and mobile advertising so you will have lots of similar set ups. Different set ups will give slight various for the different formats the ad will be seen across, and it won’t seem like the same ad over and over. Lot’s of set ups means lots of work. Show up to set prepared, rested, and ready to work.

Open Your Wallet.

Commercials pay out big money. I have never made less than $900 for twelve hours of work on a commercial. Thats just the start, when you are higher up on the totem pole you can make several thousand dollars in just one day. Most commercials directors make $10,000+ per commercial.

Question: What are some of the most memorable commercials you have seen?

I wanted to write a post about the Tribeca Film Festival not only because it is happening right now (April 18th-29th), but because of its unique roots and how that relates to the core of Skip Film School. Tribeca Film Festival (commonly known as TFF)  is one of the newest major film festivals in the United States. The festival was founded in 2002 in response to the September 11th, 2001 attacks. The idea was that the festival would contribute to strengthening New York City as a major city for work in the industry along with contributing to the long-term recovery in lower Manhattan.

TFF is very much still a solid indie film festival. The great thing is they accept a lot of short film submissions. If you are looking to get your short out there, be sure to check out this festival and submit it. Although the festival is growing rapidly it is still a relatively small festival in terms of size, popularity, and industry clout. If you are able to attend I highly recommend it, there is ample opportunity to visit industry talks, events, and watch a few of the films submitted. Like any festival there are tons of free events, and talks as well.

If you are planning on moving to New York City to work in film, get involved with Tribeca. During the festival you can volunteer, which will net you some sweet schwag, and a badge to get into most of the events, films, and talks for free. Plus you can not just “network” but meet and work with people that continuously work in the New York film community. That is exactly what the festival is all about, bringing the New York film community together. If you can’t afford to volunteer, keep in mind there are also tons of paid jobs for the events to work at.

NAB SHOW

Trade shows conquer  every niche market you can think of these days, and film is no exception. The National Association of Broadcasters puts on a killer trade show every year chocked full of the newest gear, software, and other tech news for the film and television industry. Someday I hope to attend, but until then I relish the ability to stay glued to the screen for the latest updates.

The world of entertainment is one of the fastest changing industries around.Every year you can bet there will be a better camera, piece of equipment, or version of software available to help you with developing new techniques or easily master tried and true ones. NAB is happening now, so check it out online to see the latest news. If you follow any sort of tech blog such as my favorite Engadget, then you will definitely be in the loop to the happenings and new gear.

If you want more film specific news try following FilmTools and Able Cine. Able Cine is a rental house based out of  New York and Los Angeles. They specialize in camera sales and rental, and often have great walk throughs on their blog for new cameras and lenses. FilmTools is based out of California, and is primarily a filmmakers trade store with more practical on set gear, but they are getting more and more into lighting and camera. I almost exclusively shop with them for my essential film gear.

NAB isn’t just about gear, its about community. If you attend the show there will tons of industry professionals there to meet, and hear speak on their expertise. You can  access tons of content, talks, and interviews online through YouTube Channel or at their site. When the NAB isn’t happening, you can also see the latest happenings with the National Association of Broadcasters at their site.