Hey, all!  Time again for another Q&A with an indie and guerrilla filmmaking guru.  This time, horror FX genius, Marcus Koch, takes some time out of his busy schedule to answer a few questions for you, my loyal Film Sensei readers.  Take it away, Marcus!

Name: Marcus Koch

Year/Age Started as a Filmmaker:
I’d honestly have to say i got the itch, for making movies around age 7, my Parents had a video camera, and it was all down hill from there once i got my hands on it.

Credits:
ROT
100 Tears
Fell
and special effects for :
Walking Distance
Sweatshop
Imago
Closet Space
Sinners and Saints

Website: www.oddtopsyfx.com

Give the Filmsensei.com readers a bit of information on yourself and your experience as a filmmaker.

I’m a horror guy, I grew up in the 80′s so that’s probably my biggest influence was those glorious formative years, I love any and all horror movies, no matter how bad or low budget…and growing up in an era of Drive-ins and VHS tapes, I had seen some of the best horror films and Video Nasties my local mom and pop had to offer.  So it seemed obvious when I was six or seven, that was what I was going to do with my life, and so it began. I knew I had a knack for artistic ability , but it was somewhat skewed due to the movies I watched, so special effects was the route I took, making fake heads out of Styrofoam wig stands etc.

And when my Dad brought home a video camera, I would sneak it out while my parents were at work and make tiny short films around my newest special effect creations, ultimately leading to each effect becoming more grand, and needing to write plot lines around my FX gags.

All of this really laid the foundation for where I wanted to be.  Friends and family became my guinea pigs and victims, and dealing with “actors” became one of my first real looks into filmmaking and how Hollywood magic isn’t so magical when you have to deal with someone, saying they won’t do that, or not showing up.  LOL – Then came scheduling conflicts and pretty much just about anything that could go wrong usually will.

Its like filmschool.  Actually maybe even more so, I could read an instruction manual, so I could learn to use the camera, but that wasn’t going to teach me how to deal with everything else that goes wrong. I don’t think they teach that at film school.

With each project getting a little bigger and taking on new challenges, I had written , directed, shot and edited 3 Feature films before I was 16.  Granted I never show those to anyone, because they are absolutely awful, but it set me up for taking the next step, making a movie, and getting it seen.

At the age of 18 i shot ROT, punks puke and necrophilia, good friends who took me seriously and let me put them in wild situations.  It turned out good, at least good enough to garner national distribution ( i think it can still be found on amazon.com).  Its not a great movie, it’s actually pretty damn bad, but it got released, and 13 years later people still give me copies to sign at conventions. weird.

Since then I’ve pretty much just stuck to working on FX for other films, lots of films that sadly never got finished, or never found distribution.

I still have the itch to direct, so when the opportunity arose , I made 100 tears, my killer clown opus.  LOL – I have an odd obsession with clowns, and what better way to do a gore film, then to throw in a clown ? good times.

As a run-and-gun digital filmmaker, can you give our readers an idea of the problems that you’ve run in to on some of your past productions — or even problems they can expect on theirs?

Problems are due to Murphy’s law, which are always in effect, anything bad that can happen usually does.  I’ve been in run in’s with cops, run ins with crazy religious people, run ins with in inhabitants of a halfway house ( note to self, do not shoot a film at a functioning halfway house for crack heads and hobos ).  Some actors can be diva’s usually the wet behind the ears are the biggest pains in the ass, the coolest people are usually seasoned pro’s – they are laid back and know what to expect.

On a film set, the main motto everyone knows to live by is ” hurry up and wait” and it rings true in every sense of the phrase.  The days are long and usually seem like you are there not accomplishing anything but holding down a cooler with your ass, (or a chair if your lucky).

Expect the unexpected ! use your foresight, and instincts, if you have a gut feeling go with it, if you feel an actor or crew member may cause problems or have an attitude , eliminate it before half the film is in the can.. if you have a bad feeling about a location, you might be onto something, if something looks dangerous it probably is. if you think someone may call the cops, you better have a good story, or at least a decent white lie. and the more you do the more you will get to do.

What is the worst thing that’s ever happened on one of your indie film shoots?

So many to choose from. I’d say the scariest thing was during pre-production for 100 TEARS we started shooting Jan 12th and the owners of the warehouse we were using to build our sets held a huge party.  The owners of the warehouse were also artists and held art shows and raves, but they had this homeless guy living there, so we paid his rent and gave him a job helping us build the sets (he was also an amazing portrait artist).

So on their new years bash, he was drinking way more than a crazy person who isn’t on their Meds should have been drinking, and built himself a little hide-out room, among our maze of rooms used for 100 TEARS, around 6 am, he hid in a dark corner and waited for any female to pass by.  He had made a homemade garrote (or noose) with wire from some theatrical lighting safety cable, and jumped out at some party going teen, and wrapped it around her neck and started choking her, and dragged her back into his little hiding spot, complete with a dirty mattress.  Thankfully someone wasn’t too far away (our sets were on the first floor and the party was on the second floor) and rushed to her rescue, getting her free, the cops were called, and he was screaming “I was going to kill her and F*** her!” (yes in that order)  She was bruised and banged up pretty bad, but ultimately alive.  Needless to say, he was carted off to the pokey, but it was always a worry on set, if he would be let out of jail and return to the property.  Oddly enough when we saw his Mugshot on the interwebs, (god i love this modern day and age) we couldn’t’ help but ask ourselves…why didn’t we see this coming?  He looked like Charles Manson.

As someone who wears multiple hats on your films – writing, directing, producing, editing, running a camera — what is your favorite part of indie filmmaking and why?

All of it is pretty exhausting and time consuming, and stressing, doing more than 1 job on a single film just consumes your soul.  The whole process is going to be hell, be it a low budget or a big budget, the problems will always be the same.  However, the feeling of having a finished film, that everyone’s hard work was not in vein, is the best feeling, and nothing can top it.  Hell or high water, for better or worse, if its finished, and people can see it, its’ then that you realize, that’s why all the sleepless nights were had, what all the sitting around was for.  All the chaos had happened.

It’s truly the most frustrating business to be in, but when its done, all of the bad times are forgotten, and all you see if what you’ve accomplished.

Finally, can you give beginning indie and guerrilla filmmakers any advice on setting up their first films? In other words, what advice or tips do you wish you had been told before you put together your first film?

I’ve never been rich enough to afford film school, I hear it’s jump started many great careers. Honestly, I”d have to say, if you do have the money to go to film school, then you have the money for your first feature.  Sure, things will go wrong, expect that.  People will quit, tempers will flair, friendships will be broken.

You’ll learn as real life unfolding before your eyes.

Want to learn how to load and operate a 16mm or 35mm camera.. read a book, the technical know how can be found anywhere, dealing with real life problems is something you can’t learn in school.

Anything else you want to throw out to our indie film readers?

Rule # 1 that must be adhered to, no matter how small your budget is, FEED YOUR CAST & CREW. Even if you cannot pay anyone, FEED them.  FOOD is worth more on a long, exhausting day then anything you can imagine…

Marcus Koch, 2010

Thanks for the great answers, Marcus!  I also wanted to say that 100 TEARS was a fantastic film!  Anything with killer clowns is all right in my book.

-Mat Nastos, the Film Sensei

http://www.filmsensei.com

Related posts:

1. Q&A with Filmmaker, Abel Berry
2. Q&A with Filmmaker, Jacob Strunk

In 2009 I had the pleasure of attending one of my favorite horror conventions, Texas Frightmare Weekend in Dallas, TX.  I was there to hang out with my buddy, indie film genius Stacy Davidson, and see what the Texas guerrilla filmmaking community had to offer.

I have to say that I was blown away by what I found.  The Texas filmmaking community in general, and the horror community in specific, is one of the most creative and innovative I’ve ever seen.  The group produces some amazing, and incredibly fun, work.

One of the filmmakers I had the pleasure to meet was a Dallas-native by the name of Abel Berry.  He was there pimping his first film, the killer clown flick called SPOILS.  After speaking to Abel and finding out he had shot the entire film on the amazing Canon HV20, I decided to pick up his DVD and check it out.  What I saw was an incredibly low-budget film with a whole lot of blood, a bunch of murders and more creativity and imagination than I’d seen in a very long time.

So now, a year later, I head back to Texas (well, at least via the Internet) to see what Abel has been up to and to get some of his great advice for indie filmmakers.  Take it away, Abel Berry!

5 Questions for Indie Filmmaker Abel Berry

Name: Abel Berry

Year/Age Started as a Filmmaker: 2007/24

Film Credits:
Writer/Director/Director of photography/Composer/actor on SPOILS
and KODIE. Camera Operator on OPIATE

Website: http://bsentertainmentfilms.wordpress.com

Give the Filmsensei.com readers a bit of information on yourself and your experience as a filmmaker.

Well, I started the journey as a filmmaker a few years ago with my friend Jennifer Stone. We had a little JVC handycam, and we would just play around and make silly videos and try to learn how to edit. Then a year or so later we got more serious about it, and we were approached to make a film in my friend Bart Butler’s haunted house, and that’s how SPOILS was born. We had no money, so we saved and got a Canon HV20 for around 600 or 700 bucks and edited on iMovie hd 6.  Jenn, Bart, and myself did everything. A year after that, we wanted to step it up and make something even more ambitious and used what we learned on spoils, to make it better. So I wrote the script for KODIE, (the girl in a teddy bear suit witchcraft ghosthunter splatterfest extravaganza!) And 9 months later we are deep in post production on that film.

As a run-and-gun digital filmmaker, can you give our readers an idea of the problems that you’ve run in to on some of your past productions — or even problems they can expect on theirs?

Plan your time wisely. Have shot lists ready for every day, and follow them. Of course its cool to come up with shots as you go, but shot lists have helped us save a lot of time on KODIE, because that was the biggest problem for me on spoils,… not having the time to do what I wanted with each scene. Oh, and absolutely back everything up once you begin to edit. We lost the 1st 30 minutes of rough edit and had to start over.

What is the worst thing that’s ever happened on one of your indie film shoots?

Worst thing to ever happen? On SPOILS, not having the mic on during a scene (because I was my own sound guy and messed that up pretty bad)

On KODIE, a certain effect that we prepared for weeks did not go correctly, and we had to do it over, and it cost us a few weeks. but we learned from it to be prepared for things to go wrong.

As someone who wears multiple hats on your films – writing, directing, producing, editing, running a camera — what is your favorite part of indie filmmaking and why?

I love shooting and writing, but by far, my favorite part is Directing. I’m not sure why, but I’m most happy when I’m on set and in the middle of it all ya know. Just finding creative ways to make the story work with friends.

Finally, can you give beginning indie and guerrilla filmmakers any advice on setting up their first films? In other words, what advice or tips do you wish you had been told before you put together your first film?

On setting up a first film, I would say, that first off do as much planning as you can in pre-production (shot lists, story boards, rehearsals, lighting, etc.). And also, the one thing I rant on and on about, the one thing I wish I would’ve known before, is that you shouldn’t blow a bunch of money on some fancy pants camera with all the bells and whistles. Find a camera that is ‘good enough’ and find a good deal on it. Use the money u saved on that, for other things like promotion. Indie Filmmakers NEVER plan enough for promo. I would say to be creative and come up with a good story that u can tell for no money at all, then just spend money on GOOD SOUND (because a film with bad sound will never be well received. never) and promotion.

Anything else you want to throw out to our indie film readers?

The only other thing is, don’t call your film finished, until you are satisfied that its the best it can be. Being indie, you don’t have the time restraints the big boys do so take your time.

Abel Berry, 2010

Thanks for the words of wisdom, Abel! I can’t wait to see KODIE!!

That’s it from the DOJO for today. I’ll see you all later in the week with a new article!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

Related posts:

1. No Budget Filmmaker Profile: BS Entertainment – HV40 Feature Filmmaking
2. Q&A with Filmmaker, Jacob Strunk
3. Q&A With Filmmaker, Marcus Koch

Ok, so my intended re-launch of Filmsensei.com wound up taking just a bit longer than I had originally planned.  However, I’ve got a lot of cool stuff in store and it all begins today!

As often as I can coax my filmmaker friends to do so, the Film Sensei plans to run question & answer sessions with cutting edge guerrilla and indie filmmakers here on the website.  We’re going to get down and get answers from filmmakers who are out in the trenches every day working on low budget films.  These guys started out just like you, my loyal readers, as run-and-gun low budget filmmakers and have been able to get their flicks made and out to the public.

The first in this on-going series of indie filmmaker Q&As is with guerrilla filmmaking wunderkind, Jacob Strunk.  I met Jacob in 2009 when he needed a good camera for his latest short film, “This is the Place.” Normally I don’t tag along to shoots, but having heard about Jacob’s reputation I just had to go and see the man in action.  Needless to say, Jacob didn’t disappoint.

I’m going to shut up now and let Jacob take over.  Enjoy!

5 Questions for Indie Filmmaker, Jacob Strunk

Name: Jacob Strunk

Year/Age Started as a Filmmaker: Probably around 12 or so, the usual “run around with the family camera covering friends in fake blood” story, though my first festival screening was in 2002. A wise man once told me you’re not a filmmaker until you’ve shown your work to a room full of strangers.

Credits as writer/director:
“A Day Awake” – 2002; premiered at Flicker Festival Los Angeles.
“Go Man Go” – 2002; part of the Pioneer 2880 Project.
“Valhalla” – 2003; finalist for Student Academy Awards, screened at 1 Reel Film Festival, Seattle.
“A Shadow Before Sunrise” – 2004; winner, Best Film Noir at New York International Independent Film Festival.
“Another Happy Ending” – 2005; one of ten films commissioned by Warren Etheredge for 1 Reel Film Festival’s Filmmaker Challenge with work by Jason Reitman, A.J. Schnack, Seth Henrikson, the Duplass bros., et al.
“Mr. Butters Syndrome” - 2007; premiered at New Rivers Press Moving Words : Moving Images literary festival.
“This Is the Place” - 2009; premiered at Olympia Film Festival, Olympia, Washington.

Website: www.sevenmileswest.com

Give the Filmsensei.com readers a bit of information on yourself and your experience as a filmmaker.

I was fortunate enough to find a great group of folks in film school, and all the films I directed there found their way into festivals. My film “Valhalla” was a finalist for the Student Academy Awards, which caught the attention of SAA judge Warren Etheredge of Seattle’s Warren Report and then curator of the 1 Reel Film Festival. Warren invited me to Seattle to screen the film and talk to the audience, and invited me back the next year to be a part of his annual Filmmaker Challenge.

In 2004, I received grants from Kodak and Fotokem, which allowed me to shoot “A Shadow Before Sunrise” on 35mm. In 2007, I curated the “Moving Words : Moving Pictures” evening of film in Fargo, where I premiered my film “Mr. Butters Syndrome.”

Since graduating from film school, I went to grad school and earned an MFA in creative writing, and I’ve been paying the bills and buying cat food working in post production while managing to pull together my own films as often as possible. It couldn’t be done without the continuing friendship and support of the group of filmmakers with whom I went to film school. It’s been a tremendous life lesson: respect and foster community.

As a run-and-gun digital filmmaker, can you give our readers an idea of the problems that you’ve run in to on some of your past productions — or even problems they can expect on theirs?

Expect everything to go horribly wrong. Expect the camera to fail, so make sure you have another. Expect someone to drop half the day’s film into the glaring desert sunlight, so be ready to scramble to reshoot. Expect your actors to die or be late, your food to be eaten by a bear, the power to go out, the AC to lose focus, a comet to hit. Expect everything to go wrong, be ready to deal with it, and you’ll be primed for battle. And, of course, pleasantly surprised every time something goes smoothly.

My productions have ranged from four guys in the woods with a tripod and a bounce board to a crew of umpteen people and a dozen actors on location for four days with generators and a truck full of lights shooting 35mm film; however big or small, have a backup plan for everything. And most importantly, don’t get discouraged when things go awry. Take a breath and deal with it, keep the momentum going. Your finished film will not be what you originally envisioned — it never is — but with any luck, it will become its own organic beast, growing and changing and chewing up the scenery. And that, quite often, is much better…

What is the worst thing that’s ever happened on one of your indie film shoots?

We’ve been fortunate enough to never have a major injury, maiming, death, divorce, or disfigurement on a shoot, so I have to say the worst thing thus far, the thing most inhibitive to a smooth day of work and a pleasant outcome, was on our final day of shooting the last film, “This Is the Place.”

My first mistake was casting someone I knew from previous experience to be unreliable. But he lobbied for a part in the movie, so I wrote a supporting role for him. He’s a fantastic artist, so I also commissioned him to create a visual effect for the film. And he came through on it; it was fantastic. It looked so great, in fact, that he decided he didn’t want us to use it. He liked it too much and wanted to keep it. At this point, I should have pulled the plug and found someone else. Mistake number two.

He assured me he’d create another. In fact, the day before we shot, the crew gathered at my house for a cheerful afternoon of pre-game beers and banter, during which he continued working on the replacement. Our call time was early the next morning at a location 90 minutes away, so we all called it a night early and got ready for the shoot. Well, almost all of us.

The next morning, he had disappeared. Without finishing the effect. And with my ATM card. I had the entire production waiting on me, so we had to move out without him. I was out an actor, out an effect, and had no money with which to pay everyone working that day. But in the moment, you have no choice but to push forward, so we recast the role (with the stage manager, no less, who did a fantastic job despite never having acted before in his life), someone lent me a bunch of money to pay everyone, and we reblocked the scene to make it work without the effect. In the end, while I still miss that one glorious shot that never was, it turned out to be for the best and, while the day was ridiculously stressful, I think the film is better for it.

Lessons learned: trust your gut and push through obstacles.

As someone who wears multiple hats on your films – writing, directing, producing, editing, running a camera — what is your favorite part of indie filmmaking and why?

It sounds tacky, but whatever stage of production I’m in, I love it (with the exception, of course, of pre-production, which I find daunting and tedious and discouraging). Working on the script is not only a time for ideas to birth themselves in front of you, red and wet and writhing, but also a time for meditation on the film, what it means, what you want to say with it; it’s a time to get to know your themes and characters. They become real.

Casting has always been a pain, usually because there’s not a pile of money involved, but when it finally comes together, it feels like a first kiss. Production itself is usually the most exciting. Terrifying, undoubtedly, but seeing the scenes you’ve written and rewritten and visualized and rehearsed actually happen in the moment while a red “record” light pulses or a reel of film purrs past the gate, that’s an untouchable high. It’s also a time to experiment, to have fun, the chance for true collaboration to take place. Shoot a couple takes, then let everyone have fun. Shoot what you know need for the edit, but then move the camera. See what other moments you can find. Let the actors improv. The true auteurs know that 90% of casting is directing.

Post is also tedious, but again exciting seeing the puzzle pieces fit together. More often than not, I find myself cutting a rough to script, then making drastic changes in subsequent edits. Things disappear, moments play out differently, characters take charge of scenes in ways you didn’t expect, the timeline skews. It’s wild. If the script is the delivery room and production is a fun childhood day terrorizing pigeons at the park, post must be that horrifying time in a parent’s life when they question whether their child can actually make it behind the wheel of a car or staying out until a later curfew or going to that rock show in the city. More often than not, they’re just fine. I think most parents will say you have to give teenagers space to find themselves and develop. That’s post-production.

And then comes the bittersweet moment where little Billy or Susan leaves the nest. You’re in a darkened theatre full of strangers, about to watch people watch your film. You can’t wait, you’re so happy for it, but you know your job is done. It’s up to the film now to captivate them, to teach them, to move them. And it’s up to you, depending on how masochistic you really are, to get back in the bedroom and start trying for the next. Apologies if that analogy skewed a little blue.

Finally, can you give beginning indie and guerilla filmmakers any advice on setting up their first films?  In other words, what advice or tips do you wish you had been told before you put together your first film?

I can offer two pieces of advice that may at first seem counterintuitive:
1)    Learn your craft. Study it. Take classes. Watch movies. Read books. Go to film school if you’re able. I know, I know, PT Anderson dropped out. John Cassavettes was self-taught. “Barry Lyndon” was shot with natural light. But you must. Know. Your. Craft. Learn how to do everything and how to do everything right: light, operate a camera, run sound, direct actors, pull cable. Take an acting class. Take a writing class, even if you’re not a writer. Learn it all. Arm yourself to the teeth. This is war, kid, and you can’t show up with a penknife to a gun fight.

2)    Take chances. Take risks. Now that you know the rules, see how far they’ll bend. Once you have the fundamentals down, once you know how the language of film is most effective, you begin to develop your own aesthetic. Don’t start throwing around whip pans and tracking shots until you understand the 180 line; don’t try to out-Fincher Fincher until you can shoot a scene in which two people speak in a single wide shot and make it interesting. Then…have fun. See where you end up.

Anything else you want to throw out to our indie film readers?

I mentioned it earlier, but I can’t stress the idea of community enough. Here’s the sad, painful, infuriating truth: almost everyone who makes it in this industry does so through connections you don’t have. Family. Friends of family. Significant others. What have you. Someone gets them a job. Someone gets them money for their project. Someone helps them get a celebrity in their film, which gets it into Sundance, which gets them a deal for a feature, which sets them up for a life of caviar and models and fast cars and magazine covers. It can be discouraging and depressing. Believe me. After a decade out here, you look around and sometimes wonder what all the hard work was for, why you bothered (as I mentioned) arming yourself. The war can sometimes seem miles away while you sweat with 100 pounds of armor and weaponry on your back in the sickening heat of the jungle.

You have to surround yourself with like-minded people. Surround yourself with believers, people who believe in both the craft of filmmaking and in each other. You have to help each other, you have to push each other, you have to pester the hell out of one another sometimes to keep making films. But it’s absolutely necessary. These people are your platoon and your support group, and as you go through experiences together, as you get better at what you do together, you’ll find you’re stronger as a team than any one of you alone.

And when someone’s rich uncle dies or you all discover that Todd’s cousin is dating the guy in the big ABC dramedy, you’ll be ready to pull the trigger and you’ll all be in it together. All joking aside, the longer you keep at it, all of you as a team, you’ll discover you’re making your own connections, through work and over beers and at the laundromat. Keep at it and support each other and force one another to keep making things, and the snowball will grow. Always be ready; when the opportunity comes, it’ll be yours.

-Jacob Strunk, 2010

Thanks for taking the time to answer questions for the readers here, Jacob!  Keep up the fantastic work!!

-Mat N., the Film Sensei
http://www.FilmSensei.com

Related posts:

1. Q&A with Filmmaker, Abel Berry
2. Q&A With Filmmaker, Marcus Koch

I haven’t done a good independent filmmaking book review in a low time…in fact, I think I’ve only ever done one before and it was many moons ago (over a year ago with my review of Dov S-S Simens’ book “From Reel to Deal”). It’s funny, I read quite a bit (1-2 books a week), but I can never seem to find the urge to write up a review of any of the books. It must be some sort of left over rebelliousness from high school and how much I hated doing book reports. My incredibly evil 9th grade english teacher, the satanic Ms. Thom, must have done more mental damage with her class than I had realized! Today’s post is my little way of healing that damage.

Back at the end of 2007, I was trying to find a cool book for independent filmmakers. There are literally thousands of books (and quite a few really good ones) on theoretical filmmaking. What I really wanted, though, was something more practical. I wanted a book that was a nuts-and-bolts, real world instruction book for an independent or no-budget filmmaker. Something that gave actual examples of guerrilla filmmaking techniques and showed how to replicate and use them.

I didn’t realize it at the time, but what I was looking for was a book called “The DV Rebel’s Guide: an all-digital approach to making killer action movies on the cheap.” Yes, I realize it has an unbelievably long name and I am usually morally opposed to unbelievably long names for products. This time, however, I’ll make an exception because this unbelievably long name tells you EXACTLY what the book is about.

“The DV Rebel’s Guide” was written by a man named Stu Maschwitz. He is also an amazing independent filmmaker, post-production guru and founder of the special effects company, The Orphanage. If you don’t know what the Orphanage is, please stop reading this blog…go back to school for accounting or something lame like that and leave the world of independent filmmaking behind. You suck. Get out!

Ahem.

Anyway, Stu and his company have worked on everything from Sky Kids to Sin City to Iron Man to Grindhouse to The Spirit…uhh…forget I said that last one…and what he does in “The DV Rebel’s Guide” is bring his vast experience of digital filmmaking and effects down to the low / no budget film level and gives an incredibly clear, incredibly concise bunch of practical tips and techniques. This is not a book on theory. Stu goes out of his way to explain the how’s and whys of every technique and short cut in his book. He tells you what you need to do, why you need to do it and then shows how to get it done.

The book covers a lot of ground, including: proper cinematic framing, lighting techniques, using Airsoft guns effectively for action scenes, compositing with After Effects (he spends a lot of time with After Effects and what it can do to help a microbudget filmmaker — the DVD plug-ins alone are worth the price of his book), editing, color correction and about 1000 other things. “The DV Rebel’s Guide” is easily the best book for a no budget filmmaker on the market today and should be required reading for anyone seriously conteplating independent filmmaking as a career.

Stu Maschwitz shows you how to take your no budget film and make it look like a million dollars and he does it all for less than $35. This book is better than any independent or guerrilla filmmaking workshop you’ll find and will not only help keep you from going over budget but it will show you how, with a little bit of After Effects wizardry, you can achieve some amazing things even with no budget at all.

If you haven’t read “The DV Rebel’s Guide” then you are missing out on some of the most invaluable low budget independent filmmaking tips around.

That’s it for today. Until next time, Keep Shooting!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

Related posts:

1. Book Review: From Reel to Deal by Dov S-S Simens

A few weeks ago I talked about a microbudget filmmaker I met while in Dallas at the Texas Frightmare Weekend by the name of Abel Berry from BS Entertainment Films. Abel was a great guy and his movie, “Spoils,” was a neat little flick about a killer clown. As I mentioned earlier, the cool thing about Abel was the fact that he should “Spoils” on the awesome little Canon HV20 (now the Canon HV40) consumer HDV camera. This camera is an amazing tool for independent and no budget filmmakers and it was great to find someone who had actually gone out and shot a feature length horror film with it. That’s right, a feature film shot with the Canon HV20 / HV40. How cool is that?

Well, Abel and his crew are now deep into production of their latest no budget horror flick, “Kodie,” and are once again using the Canon HV40. Even better, Abel is posting a series of video blogs talking about the production and extolling the wonders of the Canon HV20 / HV40 cameras.

Check out Abel’s video and keep an eye out for this young filmmaker…I think we’re all going to be seeing a lot more of Abel and his team in the future!

Until next time, Keep Shooting!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

Related posts:

1. Feature Filmmaking with the Canon HV40
2. Q&A with Filmmaker, Abel Berry
3. Independent Filmmaking Tips: How To Write A Feature Length Screenplay

One of the aspects of independent filmmaking I get asked about quite often is on writing a screenplay.  The subject is always a strange one for me to talk about because I’m not a traditionally trained screenwriter by any means — heck, I went to comic book school.  I’m just happy I know how to (barely) read!  Every professional writing gig I’ve had in film, television or comic books has either been something I stumbled on to or created for myself — that includes my feature film work and even the stuff for Disney TV Animation.  I’ve never submitted or been hired from a spec script, the work has always come from someone I know asking me if I wanted to write something for them.

The first feature screenplay I wrote (for “Bite Me, Fanboy”) was for a film I was financing myself and the second (for “Stinger”) came from me harrassing Morris Ruskin over at Shoreline until he gave me the gig.  The Disney work came from producers I’d been working on and off with since the mid-1990s. 

Needless to say, in spite of my experience, when it comes to giving tips on how to write an independent or low budget screenplay, I don’t feel like the most qualified person around.  So, what I’m going to do for today’s Film Sensei independent filmmaking tips post is tell you “how I” write a feature length screenplay (as opposed to tell you “how to” write a low budget screenplay).  I will say in advance that my particular method of screenwriting may not work for you and may, in fact, scare the hell out of any “real” writers out there reading this post.  You have been warned.

The Film Sensei’s How To Write A Feature Length Screenplay

The first thing I do when I sit down to write is decide upon a genre — well, to tell the truth, I’ve usually figured that part out well before I sit down to write. I prefer comedy over anything else, with horror being a close second…of course, even my horror screenplays are filled with comedy.

From there I figure out the basic story concept and theme. For me, those two elements go together. With “Bite Me, Fanboy,” it was about staying true to yourself. For “Stinger,” it was breaking up with someone and then having to go back and deal with the mess you left behind. “The Hog” dealt with social structure in school and what happens when the underdog comes out on top. I’ll come up with the theme right along with the basic story idea (“Bite Me, Fanboy”: boy gets dumped because he’s a comic nerd; “Stinger”: giant scorpions on a submarine; “The Hog”: killer pig on a college campus). The theme is even more important to me than the story concept — without a theme in place at the beginning, I have problems working through the rest of the story. A story without a theme driving it is just a bunch of scenes strung together.

Once I have the theme and story concept down I’ll write a short outline. Basically a bullet point style version of the story, very general and without a lot of specific story details. Here is where my method of writing a low budget screenplay starts to head off of the usual track. I’ll take that outline and plug it in to the below storytelling structure template (see bottom of article — if anyone knows where it originally came from or who the author was, please let me know so I can give them credit and/or a link back to their site). I can’t remember where it came from, but I found it online back in 2002 or so and have used it ever since. The template breaks down every single beat of a standard 3-act story — it’s detailed down to the page each beat should happen on.

Now, I know most of you will be thinking “Are you crazy? Doesn’t that take the natural flow or feeling out of the script?” Not for me or the way I write. You see, I write almost completely out of order. I’ll start with the first 10-20 pages of the screenplay and, once those are done and I’ve set a tone for the screenply, I jump around like a crazy person, writing a page here or a scene there. I like to write scenes towards the end early in the process to throw myself interesting writing problems — I may add a character having a black eye or some other little bit without any idea of how it happened. That keeps things interesting for me as a writer — and it helps keep me going during that middle part of the process that takes the longest to get through.

Having the structure/guide already stuck into my writing file, integrated in to my outline, also helps me stay on track. That way I don’t wind up writing 60 pages in the first act.

And that’s really it. Writing is as much about follow-through as “talent.” I never start editing or doing re-writes until I’ve written my first draft. I don’t go back and change anything at all until I finish. Editing and re-writing is the biggest killer of getting things done when it comes to your first draft. I have writer friends who rarely finish any of their longer form writing because of their addiction to re-writing before they are done. I don’t allow myself that privilege until I’m finished with my story. Once it’s done and I can see where everything is, then I feel like I have the best handle on my screenplay and am able to determine what needs to be reworked. The most important thing is to finish your screenplay….get it done and then you can fiddle with or tweak it as much as you want.

The only other part that I want to talk about is characters. I have problems writing a character I don’t “know,” so I wind up basing a lot of the characters I write either on people I know or on characters I “know.” For example, the majority of the marines I wrote about in “Stinger” are loosely based on guys I went to comic book school with and one of the scientist was a character I swiped from “Real Genius.” This gives me a foundation to build the characters on — it gives me a direction for them to go and a “voice” for them to speak in. If I don’t “know” the characters then I can’t make them memorable for the audience who will eventually watch the film.

Taking that one step further is something I learned from Chris Claremont (the best writer of the X-men comics and one of the greatest comic book writers of all time): if you’re going to kill a character, then you have to make them “real” and memorable in the eyes of your audience. This is what Claremont did better than anyone I’ve ever seen. He’d create these incredible complex and detailed characters over a page or two, get his audience attached to them and then have them horribly killed. This is absolutely essential for horror films because if you’re audience doesn’t care about a character getting killed, if you don’t elicit some sort of reaction (positive or negative) then the death, the scene and the movie will fall flat.

One of the things I loved hearing from everyone who read “The Hog” screenplay was “Why did you kill the two nerds? I loved those guys!” To me, that was the biggest compliment someone could give me. I had written a couple of characters who were universally loved and whose deaths produced an incredibly strong emotional reaction in my readers. Bam. I did my job as a screenwriter: I successfully connected with the emotions of my audience and was able to generate a response from them. Awesome.

For a successful writer and a successful screenplay, the thing to burn in to your brain is “Empathy instead of Apathy.” Connection with your audience or lose them.

That wraps things up for today. I hope it helps at least a little! Until next time, Keep Shooting!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

Story Structure Outline (by Unknown)

Page 1. Have you set up the setting/the location/the tone? Do we know exactly what is going on? Have you introduced the Hero?

Page 3. Do we know the Hero’s goal? What is his overriding desire?

Page 10. Has the inciting incident occurred by now? Most important point of Screenplay-structure. Master screenwriting now.

Page 12. Have we met the Opponent? Do we understand his desire line? Do we know the problem the Hero has to solve?

Pages 25-30. Have you established the event or sequence of events that will set up the second act. The Plot point, or turning Point.

Page 30. Does the end of the first act find you Hero entering a new and even more difficult arena of challenge? How does he feel about this?

Page 45. Has the Hero overcome some challenges and beaten back a few obstacles? Has he been tested a little, but not destroyed,

Page 60. The Midpoint. Is your Hero feeling defeated or confident?He must not give up now and continues onwards. This is his point of no return. He must go on. Screenplay-structure point, One most people miss.

Page 75-76. The Hero hits rock bottom. All looks hopeless and irreversible. There seems to be no way out. He must now discover a new strength, a new way of dealing with his predicament and rebuild his hope in his ability to get the goal, achieve his desire.

Pages 85-90. The build up towards the Second major plot point. What starts to set it all up? Name the events. Why these?

Page 90. The start of Act Three Plot point Two. Show how the Hero has changed. Show the growth he has made to begin the next part of the journey. Show don’t Tell. Moving Pictures! Ready for the final challenge. Nervous, afraid, insecure… but he will feel the fear and do it anyway.

Page 115. The climax. This is it. The showdown. The battle with the Opponent. The big one. Pull no punches and make sure the Hero is the one doing it. He defeats the Opponent and comes to terms with his own true self. The absolutely most important Screenplay-structure point.

Page 120. The resolution. Normal life will be resumed now. He has survived the ordeal. They are now irreversibly changed.

Related posts:

1. Independent Filmmaking Tips: Top 5 Things You Need To Know When Making Your Low Budget Film
2. No Budget Filmmaker Profile: BS Entertainment – HV40 Feature Filmmaking
3. Feature Filmmaking with the Canon HV40

Yes, it’s that time again here at the FilmSensei.com for a brand new batch of independent filmmaking tips.  For today’s indie filmmaking tips I’m going to go back to the beginning and talk about the making of “Bite Me, Fanboy.”  To be more specific, I’m going to talk about everything I wish I knew when I was making my first no-budget independent film.

Now, anyone who has every sat around and talked to me about low budget filmmaking has heard me drone on and on about my first feature film, “Bite Me, Fanboy,” and what an incredible experience it was for me.  Back when we shot the movie in 2001 I already had about 8 years of experience as a film/tv storyboard artist and a tiny bit of TV directing, but I had never directed a film of any kind — up until that point I had never imagined even wanting to do a film of my own.  Comic books were my life and my one true love then and I couldn’t imagine going out of my way to work in another industry. 

I had just finished up a gig as a producer/art director at Click Entertainment, a video game company in San Francisco, and was trying to figure out what to do next when a friend of mine (who is no longer with us) suggested we get together and do a microbudget film.  Never having done it before and not realizing the amount of pain and anguish I was about to put myself through, I said “Let’s do it.”  Somehow, in spite of a lot of inexperience and a couple of insane crew members, we finished shooting “Bite Me, Fanboy” in about 6 weeks (all on weekends).  From there it took almost 4 years to get the no budget film completed and out on DVD, mainly thanks to a couple of different people disappearing with the film assets for a few of those years.  I’m finally going back and re-editing the film the way I feel it should have been done to begin with, cleaning up the footage and remastering the sound. 

Being able to do that work now, about 8 years after we shoot the film, is an incredibly interesting exercise in hindsight.  What I’m able to do is take a look at what I did back then through the eyes of a much more experienced me.  I see a lot of things I know now that I wish I had known then.  Going through that inspired me to put the following guide together that I like to call:

The Film Sensei’s Top 5 Things I wish I had known when I made my first film!

Indie Filmmaking Tip #1:  Find a passionate partner
Making your first (or your 20th) low budget independent film is an enormous amount work and you, as the filmmaker/writer/director/producer/whatever, will be shouldering more of that work than anyone else involved.  To help out with the burden of guerrilla filmmaking every filmmaker out there should try to find a partner who is as passionate about filmmaking in general, and your film in particular, as you are.  Find someone you can spend 24/7 with, talking about movies, planning and whatever else it takes to get your film done.  Someone to share the entire experience with.  Nothing will aid your film more than finding the right partner.

Even better than just a partner is if you find someone who will also be either your producer or assistant director.  If you can find a person who has experience in one of those roles, then the entire no budget filmmaking process will become infinitely more bearable and easier to get through.

Indie Filmmaking Tip #2:  Make sure you have a good producer or AD
The most important thing about getting your microbudget independent film done is planning and pre-planning.  This is where a good producer (or assistant director) can save a production.  Breaking down a screenplay, scheduling the shoot, even doing call sheets is a pain in the ass for anyone who does them and they are particularly tough to deal with if you’re also the director and already managing 100 other projects.  Find the most anal person you can and put them in the role.  You want to make sure that when you show up to start shooting that everyone and everything you need is there, in place and ready to go. 

The sad thing is the hard work of most producers won’t ever be noticed by your audience.  If they do their job right, it shouldn’t be noticed by anyone but you.  For us, on “Bite Me, Fanboy,” we had a great producer and never even realized it.  A gentleman by the name of Gene Oh (a friend of that friend who is no longer with us) had been a PA on “That 70s Show” and volunteered to run the production for us.  He scheduled the shoots, broke down the script, made call sheets, arranged some donated props and did about 100 other things I never noticed during the insanity of the shoot.  He did a fantastic job and, sadly, I never thanked him for it.  So, Gene Oh, if you’re out there reading this:  Thanks for the fantastic job…you helped make the shoot the incredible experience it turned in to.

Indie Filmmaking Tip #3:  Hang out with your cast and crew
No, the main point of making a film isn’t to make friends with everyone.  However, on a no budget indie film, you’re going to be spending hundreds of hours with this group of people, going through some pretty gruelling times, doing a lot of hard work and you need to make sure you’ve got people you can put up with.  There is nothing worse than getting on set and finding out your producer, AD, lead actress or whoever is a huge pain and turns out to be someone you dread seeing every day.  It’s happened to all of us and it is an incredibly uncomfortable and unsatisfying experience.  Having this happen can ruin the entire guerrilla filmmaking experience for you — and for everyone else involved.

One of the best ways to avoid this is to spend time with everyone involved in the production and get to know them a bit better.  Not sure your gaffer is someone you’d want to hang out with?  Well, then they may be the greatest gaffer in the world but they probably aren’t right for your film.  This “getting to know you” period is also a great way to see how dedicated and excited your various crew members are about your film.  Since no one will be getting paid the “big bucks” to work on your first no budget film, that excitement and inspiration is all that will keep your cast and crew involved in your film.  If anyone seems “iffy,” get rid of them.

Which brings us to:

Indie Filmmaking Tip #4:  Don’t be afraid to fire anyone!
Nothing feels worse than finding out a member of the cast or crew just isn’t going to work out.  Having to fire someone, in any work environment, is an emotionally difficult thing to do.  I’ve had to do it at a few different jobs and I just plain don’t like it.  With that being said, the only thing worse than having to fire someone from your independent film set is NOT firing that person and having them wreck your film.

The best thing you can do for yourself, your film and your crew is to get rid of any problem people as early as possible.  They may have the best resume on the planet or may help bring some name recognition to your project, but having that negative influence in your film can hurt it more than it would to keep them on.  A lot of times you’re gut will tell you to get rid of those influences way before your head or heart will let you admit it.  I say, always listen to your gut when it comes to that stuff because it’s almost always right.  If you get the feeling an actor or actress is going to be difficult early on, or if a unit production manager’s attitude just isn’t setting right, then go with your gut and get rid of them.  You’ll feel bad in the short run, but your film will benefit from it in the long run.  Just remember, it’s your film and if someone isn’t acting in its best interest then you have to do the responsible thing and get rid of them.

Indie Filmmaking Tip #5:  Write within your means
It’s easy to write the sentence: “The police arrive on the scene.”  Very short.  Very simple.  Not too many words.  Easy, right?  Well, what may be easy to write isn’t always easy or affordable to film.  This may be one of the most common piece of advice for new low budget filmmakers, but it’s worth repeating:  write what you know and write for what you’ve got.  Make a list of the locations, vehicles, props, costumes and even people you have access to and then write around those items.  What this does, especially for your first no budget independent film, is give you the highest production value possible for the lowest actual cost.  It also gives you a move you can produce versus one you run out of money for and won’t finish.

An upside to working with things you already have is so you can avoid dealing with unscrupulous people.  On “Bite Me, Fanboy” we had one of our main locations locked down and, the day before shooting, the location own decided he wanted $5000 or he wasn’t going to let us shoot there.  Something like that can kill a film if you’re not prepared for it.

And that concludes the Film Sensei’s independent filmmaking tips for today.  Check back later in the week for more wisdom from the depths of the DOJO.  Until then, check out the “Bite Me, Fanboy” blooper reel and Keep Shooting!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

Related posts:

1. Independent Filmmaking Tips: How To Write A Feature Length Screenplay
2. Six Quick Tips to Keep Your Low Budget Film From Sucking
3. 9 Tips for a Smoother Low Budget Film Production

I am writing today’s post for a selfish reason and, to tell the truth, out of a little annoyance. You see, due to some video posts I put up last year about items I purchased from a company called in India, I get quite a bit of email asking about Indian film equipment. And “quite a bit” is a relative term — I receive 100+ emails a week asking about Indian Matteboxes, follow focus units or Steadicams from India, which is a lot unless you compare it to the number of SPAM emails I get offering to sell me ways to increase the size of me penis. Unfortunately, those number in the hundreds per day and I believe most of them are sent by my wife…but I digress.

Anyway, a little over a year ago I decided to bite the bullet and give ordering some of the Indian equipment a try. I had been seeing them on eBay for 6 months or more at that point and had always been tempted by their pricing. The reason I say I was taking a chance is because I couldn’t find any “real” reviews for their equipment. I saw a lot of online coverage that was obviously produced by the company, , under various names and I came across a few reviews by people who had been given the equipment in exchange for giving it a good review (if you’ve searched for information online then you know the Youtube videos I’m talking about).

So what I did was start with one of their cheaper items, and an item I knew it would be tough to mess up: the Cine City Indian Mattebox (or whatever they call it). The matte box arrived incredibly quickly, something I found to be a regular feature with the Indian Cine City — they have great response time for orders. And, the mattebox was better than I had expected. It was an obvious knock-off, but was amazing for the price. I am constantly complaining about how the film industry is forced to pay for over priced brand names and finding something more appropriately priced, especially for independent and low budget filmmakers, was a breath of fresh air.

This encouraged me to try more of their equipment and I had soon ordered their Indian shoulder mount (with the front brace and belt) and their Indian Glue Pod Car Mount. Both items were fantastic for the money and performed exactly like their higher priced name-brand versions. I also came across a buddy who had ordered one of their Indian rod support set-ups and saw that it was identical to my Cavision rails…something more than a little disturbing because I think he paid half or a third of what I shelled out! Their rain cover is also a direct Indian knock-off of the Kata one and quite a bit cheaper.

Since then, I haven’t had the need to order any more equipment. I’ve got just about everything I need, outside of the higher end Indian Steadicam or follow-focus units. I’m still not ready to shell out big money for an item I just can’t find any real reviews for. I’d love to find a low budget alternative to the steadicam (although the Atlas camera support is an excellent option, made here in the US), but I’m not really ready to drop $500 or a grand on something that might not work right. Yes, I’m a cheap bastard. If anyone in my area (Los Angeles) has one of their higher end units, I would love to check it out and do a full review. However, until I actually get my hands on that stuff, I can’t comment on it.

Now, in addition to the stuff I own, I have found out a few things about the . First, they do a ton of business on eBay and have at least six different IDs on there. The ones I know about are: cine-city, dv-shop23, 23filters, cinemall19, dvaccessory, 5-colors. They’ve also got their main website under the name thecinecity.com. What a lot of people don’t realize is that they also have a site called Digital Cinema Gears (DCGears) and post quite a bit on Craigslist. You don’t realize the DCGears site is theirs because it lists a US address. However, if you ask to drop by their location to test out one of the items, like the Indian Steadicam (the Flycam), they tell you that their company is from India and ships direct from there. I also know of a few other sites who sell the Flycam Steadicam and a few other units under different names, like the Image West website. From my own interaction with the Cine City guys (who have always been incredibly polite), they seem ready to offer wholesale accounts to anyone interested in supporting their product.

That is the extent of what I know about Cine City and the Indian Film Equipment manufacturers. What I’ve ordered from them in the past has been great and I’ve talked about it here. I’ve had some good interactions with them and incredibly fast shipments (I have stuff get to me faster from them in India than I do from companies I’ve purchased from in New York or even here in California!). And that’s it. I’ve been dying to check out their Indian Follow Focus, their steadicam / flycam stabilizers and some of the other cool filmmaking gear they’ve got, but I just haven’t risked the money yet. I will say that if you need a low cost alternative for a mattebox, rod support system, shoulder mount or car mount, then is a decent and low budget option. There is no need to pay inflated brand name prices for that stuff…let the guys working on hundred million dollar films pay out the nose just so they can say they’ve got a Chrosziel matte box or whatever. Pick up what you need at a budget you can afford and then put whatever extra money you have up on the screen where it belongs.

I hope this helps and I hope it clears things up a bit. Until next time, Keep Shooting!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

Related posts:

1. Hardware Review: Indian Camera Shoulder Support from Cine City
2. Hardware Review: Indian Matte Box Review (The Cine City)
3. Indie Equipment Review: Steadicam on a budget – the Atlas Camera Support System

When the Film Sensei promises something, he delivers! Well…most of the time. Here is my video review of the Alzo Quad Pan-L Fluorescent Light bank. I had a longer text review of this fantastic budget fluorescent light bank for indie filmmakers last week, and this is my follow-up. Check out the earlier review for a more detailed look at these lights. I was impressed enough with the units at a recent music video shoot that I ran home and ordered one to test out for myself. I am definitely in love!

If you’re an indie or guerrilla filmmaker looking to add the power of fluorescent lighting to your low budget lighting kit then you’ll want to check out the Alzo Quad Pan-L lights. Great units at a great, under $400 price.

Take care and, until next time, Keep Shooting!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

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1. Hardware Review: Alzo Quad Pan-L Fluorescent Light Fixture — Kino-Flo performance at a budget price
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3. A Cine City/ Indian Film Equipment Follow-Up

As I’ve mentioned here on The FilmSensei.Com a number of times (and as my wife is painfully aware), I am absolutely love picking up new indie and guerrilla filmmaking equipment to try out. Even more specifically, I love coming across new filmmaking gear while out on a film shoot and getting to play with it. When I come across anything ultra cool I’ll promptly run home and order it up online.

That is exactly what happened at a music video shoot I was directing about two weeks ago. The shoot was pretty standard until, during a move to a small backroom office, a PA dropped and almost completely destroyed two of the rented KinoFlo Diva-Lites we were using. After freaking out a bit (and killing the afore mentioned PA in a manner far too gruesome to describe here), we managed to get our first day of shooting done. Things looked great even with the crew reduced down to only two Kinos (and one PA), but we all knew we were going to be in a little bit of trouble on the next day of the shoot where all four Kino-Flo Diva-Lites were going to be needed. It being after midnight on a Saturday, we were pretty desperate.

Lucky for us, our gaffer, a well-spoken Englishman named Andy, spoke up ever-so-politely and mentioned that he had a fluorescent light kit back at his house. Needless to say, we were all incredibly relieved even when he told us that the kit wasn’t a “Proper Kino” one. We broke at the end of the day and went off to get a couple of hours sleep before starting up again and 10am the next day.

Skip forward to about 9:30am that Sunday as we were all just starting to arrive for the shoot and get set up. I was a bit surprised when Andy sheepishly approached me and started to apologize for his kit. He mentioned that he was a bit embarrassed that he didn’t own a “real” Kino-Flo kit, but that he was still new and wasn’t able to afford the “proper” gear yet. I let Andy know there was nothing wrong with having a budget lighting kit proceeded to ask him 3 questions: Did he have the lights? Were they flicker-free? Would the light color match our main Kinos without a lot of extra work.

His answer to all three questions was “yes.” Andy wheeled in a nifty little case and promptly pulled out a set of slick-looking lights labelled Alzo. Never having heard of the brand before, I paid extra attention as he was setting up. The kit he had (the Alzo Pan-L Lite 3 Light Kit — much too long of a name for my taste) was made up of two 2-foot 4-bank Alzo Pan-L lights and one 2-foot 2-bank Alzo Pan-L light. We got the things set up and then shot with them alongside the Kinos for the next 10 hours.

You know what? For a brand I’d never heard of before, I was incredibly impressed with the Alzo fluorescent light banks. First up, the lights were strong and the color tubes Alzo supplies with the fixtures matched dead-on to the Kino tubes we had from Wooden Nickel here in LA — the 3200K and the 5600K were both spot-on. They also came with snap-in honeycombs and fabric diffusers.

All-in-all, the lights performed above and beyond the call of duty on our music video shoot. They ran almost non stop for most of the day and we had zero problems. To this day I’m a bit surprised by Andy’s apprehensive attitude towards the fixtures. I think far too many people in the film industry are more interested in expensive, brand name equipment instead of doing whatever it takes to get the job done well. The Alzo Pan-L lights are an amazing alternative for indie and guerrilla filmmakers looking to pick up some Kino-Flo style fluorescent light banks. There is never a need to apologize for having a budget lighting kit.

In fact, the Alzos performed so well for us that I went home and ordered one of their Pan-L Quad Fixtures to test out myself. I ordered up the Quad Pan-L light with 3200K tubes and added on a set of the 5600K tubes for good measure. Even though they were coming from Connecticut, I received my order less than a week later here at my home in the Greater LA area. It was cool to find out that Alzo’s customer service was as good as their product.

I’ve had this low budget fluorescent light for a few days now and have had the chance to play with it a bit. The Alzo light itself is pretty study, especially considering the price — less than one fourth the cost of a new Kino-Flo Diva-Light. It’s not as heavy-duty as matching Kino unit, but it will hold up very well to both studio on location shooting. I was (and am) impressed with the quality of the unit and am itching to pick up the full Pan-L Light Kit from Alzo (although, I do wish it has a more light weight name!) here in the next couple of weeks. I’ve been jonesing to add some fluorescent light banks but the cost of Kino-Flos, even used, has kept me from pulling the trigger…until now.

Alzo has done an excellent job with their Pan-L Fluorescent lights and they would make an awesome addition to the kit of any low budget, guerrilla or indie filmmaker looking for Kino-Flo performance at a more budget-friendly price. If you are a microbudget filmmaker in need of a budget or low cost fluorescent light fixture to add to your kit, then you’re doing yourself a disservice by not checking out the Alzo Pan-L Quad lights right now.

That’s it for today. Look for my video post showing off the Alzo budget Kino-style lights in the next couple of days. Until then, Keep Shooting!

-Mat Nastos, the Film Sensei
http://www.FilmSensei.com

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