AUDIO APRIL : The £20 Video Mic

Now before we get started let me just say, when it comes recording sound on set, there is absolutely NO SUBSTITUTE FOR A REALLY GREAT PROFESSIONAL SOUND GUY!!.
Someone who really knows what they are doing and can capture professional quality sound is indispensable and if you can afford a professional sound guy then thats exactly, without a doubt, what you should do.

However, if you're making a film on buttons and glue, the chances are you can't afford to hire a really great sound person and so the temptation is is to get your mate 'bob' to do it because he kind of, sort of knows his shit about music or something. This is a big mistake. 

Filmmakers often overlook sound on their films and they really shouldn't, good sound is probably more important than a great picture, as you probably heard a billion times before, but its very true. 

Getting good sound works very much the same as as getting a good image. It depends on having the right equipment and having the right person using it. As I discussed in my last blog, I've had people with 1000's of pounds worth of equipment show up on my set and deliver unusable sound and I've had a sound guy use a £30 mic and a cheap digital audio recorder and give me great sound, the difference is that one guy knew what he was doing and the other didn't.

My old Jessops VideoMic. Its seen better days.

After pretty disastrous sound on my first 3 feature films, I decided that I was going to teach myself how to record sound myself. I couldn't afford anyone else to do it and unlike actors/sfx artists/Cinematographers etc its very difficult for sound people to use films as 'exposure' outside of their reel (it shouldn't be this way, but the simple fact s no one notices good sound). The decision to do it myself was based on not having to underpay someone else, who would get very little out of it.

I already had a decent(ish) audio recorder (Zoom H2n) and on my last feature Legacy of Thorn we had borrowed a Rode VideoMic Pro, I really liked the results and so when looking for a mic that was the kind of thing I knew I was after, being that its a fairly common 'go to mic' for low budgeters. They retail at about £150 which is a decent price. I had a really great Jessops Video mic that cost me £30 15 years ago and it worked great, too great for the price, but it had seen better days and was beginning to fall to pieces and so moving over to a Rode seemed the best option. 

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TAKSTAR SGC-598 MICROPHONE

I was about to drop the money on it when I found a video on youtube (this one) that compares the Takstar SGC-598 with the Rode VideoMic Pro and  I found that the difference was negligible at best. The huge difference in the two mics was that one cost (at the time) £160 and one cost £23. That didn't seem right, but the results in the video kind of spoke for themselves.

For £23 I figured 'whats the harm?' and picked one up. Amazingly the results we're exactly as they had been in the video, there was very little difference between the VideoMic Pro and the Takstar SGC-598, In fact once I got a handle on it, I found that I could get a better result out of it than I had ever got from the VideoMic Pro.

The mic also has a 10+ decibel boost which is handy for quieter moments, although I've found that it does add just a little bit too much hiss at times, however this can easily be reduced in post without too much damage to the audio. It also comes with a battery that, no kidding, I haven't changed in nearly 2 years and is still going strong. 

It also comes with a shock mount, which is one of its greatest assets. Most other cheap mics I've tried out, have dreadful handling noise that makes most audio unusable, but the shock mount on the Takstar is fantastic and reduces the noise amazingly well. 

It best feature though is the fact that they currently cost around £20 each. I shoot a lot of action orientated stuff and as a result the amount of times mic get clips, hit or damaged as a result of me being in on the action is fairly frequent. If that was happening to £150 mics, I would be in deep trouble pretty quickly, but as these are so cheap, I pick up a couple at a time so that I always have a spare and so I can have extras on set should I need them. 

I've been through 2 on my latest feature. 
I would suggest getting it as close as possible for the best results, but I'd suggest that with any mic.

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Don't get me wrong, this is not the best mic in the world, but for £23 its definitely the best value mic out there and it does give great results and I've struggled to find one as good for close to that price. I've use it on 3 of my own features in the last 2 years and dozens of other peoples projects and its never let me down. 

Its damn good and its damn cheap. If you take the time to learn how to record good sound then a low cost mic won't hinder you at all. So if you're on a budget this is great and affordable option that is readily available and won't break the bank no matter how many mics you break. 

MJ

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RAISING THORN : Why I'm Glad my 1st Feature was My 3rd Feature.

4 years ago today I handed over the first draft of a script to my producer and partner Anna, I had been working on it since I was about 15 and on 29th of February 2012 I finally finished it. The date was important, I had set it as a deadline almost four years earlier, because the films story took place on February 29th, it seemed fitting. 

In all honesty I always thought Legacy of Thorn (Known as Thorn then) would be my first low budget feature, but as fate would have it, it was my third. Looking back now at all the delays and mishaps that led to the film taking almost 10 years to get off the ground it all seems like a blessing in disguise. The film happening when it did was great for a lot of reasons, the main one being, that, until that point, I hadn't really been ready to make it.

I had come up with the story when I was pretty young, initially starting life as a Halloween fan film idea of sorts, I quickly went a different direction, taking the elements from my idea that were factual and therefore I could use them with out a law suit (mainly the nordic rune elements that inspired Halloweens later sequels) and then starting with everything else from scratch. Overall it was a pretty simple concept, Kind of Halloween meets The Terminator (Two films which I always felt went hand in hand in terms of tone) but told between two time zones that ran against each other. 

The problem I always had with the traditional 'Slasher' set up, was that they always have a strong opening and then 40 minutes of downtime before they got to the 'good stuff'. The solution I eventually came to was to think of it as two films. One set on February 29th 2008 and one on February 29th 2012, the first playing backwards and the second forward. This way, not only could I break up the downtime, but I could essentially conceal important elements in the story that would feel otherwise mundane. Of course, 15 year old me would have been able to understand any of that. 

So as I tried to get the project off the ground, It never seemed to work quite how I imagined it, over the years I would try and make it work, but at the time didn't have the correct understanding of screenwriting and story structure to do so and so I focused my attention on other things. I was disheartened, because I'd always imagined it would be my first 'proper' feature. Another disguised Blessing.  

Eventually, over 10 years later, after making a butt load of horrible short films and some ok ones, I felt a little more confident that I had the filmmaking tools to make it work. By this time I was in preproduction on my actual first feature 'Creepsville' that I had started to develop with another writer after we graduated. Of course, I still wasn't sure I was ready and so I decided to makes another short film to help us get our heads round using the gear we'd be shooting on. 

I dusted off the old script for short film version of Thorn I'd written (Essentially a scene taken from the bigger movie), another writer friend of mine asked if he could polish it up, and then we shot it in an evening in my friends garage, we put it out there and people dug it, it even won first prize in the Scary or Die competition in 2009 against some pretty amazing entries. It was at that point that I started to feel like 'Thorn' should have been my first feature, and again I felt disheartened. Once again, it was a blessing in disguise. 

Creepsville came and went, It was a tough shoot and that was for a relatively simple concept. We got to the end, but the shoot had been a huge mess, After graduating University a year before, that was still a shoot that I've always considered my 'True Film School'. The film suffered in a lot of ways from my lack of experience. I thought to myself, this could have been 'Thorn', I could have fucked that up, and I felt less disheartened.

In 2009 Post on Creepsville was underway and taking a long time (I was fairly hand offs with it) and rather than sit around waiting I started working on the idea for my next film. "This time" I thought "It's sure to be Thorn". 

Then out of the blue I got wind of two films that were in production that sounded scarily similar to my 2005 feature script 'Slasher House'. I panicked, SH was one of the best ideas I'd ever had (make of that what you will) and it was a pretty low budget screenplay. One location, small cast. I realised it was now or never and I polished up the script and moved the film into preproduction in a bid to 'Get there first'. (Ironically the two film never even went under the lens). 

Thorn ended up on the back burner, but this time it felt a little better. See I had planned for Slasher House to be an ensemble movie and the 4th in a series. Thorn being 1 of 3 leading up to it, The other 2 being Hollower and Cleaver : Killer Clown. This would mean that I would have to change my whole series structure, but the upside was, Thorn played a big part in the Slasher House script. I decided that Slasher House would serve better as an introduction to these characters and we could tell their stories later on. Which we did.

Legacy of Thorn (2014)

Slasher House was shot in 2010/2011 and locked picture in 2012, the day after the Premier I receive dozens of calls and messages asking of there was was going to be a Thorn movie. By the time it came out on DVD in my homeland (The UK) Thorn was already an audience favourite. Now I felt like if there was a time for the Thorn movie, it was now, but whilst making the film, I'd had an inkling this would be the case.

Like I said at the beginning, a few months earlier on February 29th I had handed the first draft of a script to Anna and during this time I had been working on getting the final script ready. The script was HUGE and there was no way that I, as an inexperienced filmmaker, could have made it as a first feature, I mean the finale features a goddam Helicopter for crying out loud. 

The true blessing was that the film allowed itself to be ready before it would allow me to make it and I'm glad it did. Legacy of Thorn is one my proudest filmmaking achievements and had I made it earlier I'm not sure I'd be able to say that.

In February 2013 we started preproduction of Legacy of Thorn and one year later it Premiered in London on February 28th. Of course there was a whole adventure along the way, but that is another story for another Leap Year.

MJ

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ALSO IF YOU'RE BASED IN UK, MICROBUDGET MASSACRE AND THE MILTON KEYNES FILM NETWORK ARE HOSTING THE FIRST OF THIS YEARS SPECIAL 'MYCHO MICROBUDGET MASSACRE MASTERCLASS' LIVE SHOWS ON TUESDAY 8TH MARCH.  

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SHOOTING 4K ON A BUDGET

This is part of a series of Blogs looking at implementing 4K into your filming workflow for lo/no budget filmmakers. You can check the others below :

PART 1 : WHY YOU CAN AND SHOULD BE SHOOTING IN 4K
PART 3 : COMING SOON

MAKING THE JUMP TO 4K

I've been shooting on entry level Canon SLR's since 2010 (Our feature Slasher House was actually the first feature shot on a 550d, even though it wasn't the first released). I upgraded to a 600d about 2 years later with the intention of moving up through the range, but I found that the entry level ones performed as well for me as the next teir line and so found myself sitting comfortably there. After 4 features however, I felt like I wanted to take it up a notch for my next one.

Still from Legacy of Thorn : 600D/T3i

When I decided to move from Canon I wasn't really looking for anything with Higher Resolution, I was just looking for a slightly nicer image and I felt like I'd pushed the Canon as far as I could without spending some serious cash on either upgrading to a full frame or spending some serious cash on lenses and I was starting notice how soft the image was compared to a lot of modern cameras.

I was really just looking for something that fit my work flow and had a clearer, cleaner image. After some serious research I settled on moving to Panasonic who seemed to have a much nicer image coming out of their cameras that suited the work I do perfectly. It was here that I discovered that they were slowly making the jump to 4K with the introduction of the GH4, this intrigued me. 

I'm a low budget filmmaker and so dropping £1000+ on a new camera still wasn't really an option and so I decided to figure out a low budget solution for shooting 4K. 

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LOW BUDGET 4K OPTIONS

If I were to buy the set up I have now (including external audio recorder) today, it would cost me less than £1000 for two of the best cams on the market, both shooting 4k.

Following are 3 low budget options for shooters looking to move to 4k but, like me, don't have a lot of money to spend. I found three different options for 3 different budgets, whilst remaining in what I would consider to be a Low budget category of under £1000.

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PANASONIC LX100 (£400)

The LX100 is an incredible little camera. Its a point and shoot with a fixed lens (An incredible Leica 10.9-34mm F1.7-2.8) that literally fits in a jacket pocket and shoots 4K! The camera shootS AVCHD/MP4 1080p at a variety of frame rates (A fairly low bit rate, but nothing to worry about) and 4K (Although limited to MP4, but with a very good 100mbps bit rate). The camera is a great low end 4K solution.

I picked one up a few months after they came out for about £700, but since then they've dropped quite dramatically to £400 new on ebay (less if you go used). Since January last year it has been my 'Main' filmmaking camera, Which sounds crazy as its considered a 'tourists' camera. The fact that it fits in my pocket is one of its best features and you find yourself out and about just shooting 4K whenever you want. Its lens suited all the needs I had in terms of focal lengths I use the most and it only really fell down for me in terms of telescopic zoom (Of which I've used 4 times in the last 5 years). Its amazing in low light too with 1.7 wide open.

Raw Footage from LX100 : SLASHER HOUSE 2

I was a little concerned about shooting exclusively in MP4, but so far the compression hasn't really caused me any noticeable quality loss with anything I've produced on the camera and in November I started shooting my 5th feature on it and the results from the camera were incredible. If you're on a tight budget and looking to shoot 4K right now, this is a great option.

Another slight draw back is that there is no mic input on the camera, I thought about that being a deal breaker, but I record sound to an external recorder anyway and so it never really became a big issue at all. In fact in some respects it made my life a bit easier and made me more cautious with my audio capture on set, which, trust me, is a good thing. The pros of the camera far outweigh the cons and with no need to add lenses it means that the costs of the camera are kept down.

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PANASONIC G7 (£550)

Using the LX100 was a great experience, but I did find myself missing the manual/fluid movement of lenses when focusing and zooming. About midway through the year the Panasonic G7 landed and I really liked the sound of it. It seemed to me like it had all the technical features of the LX100 but with the one thing I was missing, interchangeable lenses (Oh and an audio input!).

I picked one up just before Christmas for about (£300!!! yeah thats right, That was with a store discount and Panasonic were offering £200 cash back if it was bought before a certain date) and it was an offer I really couldn't pass up. The fact that this was a third of what I paid for a 550d (T2i) in 2010 is crazy.

Raw Footage from PANASONIC G7 : SLASHER HOUSE 2

Again, some drawbacks are that it still only shoots in MP4 when shooting 4K (again not really a huge issue), but this time there is an added mic input (although no headphone output STILL!). The camera is Micro 4/3's which means I was able to use some awesome (and super cheap) CCTV lenses that I bought for my malfunctioned EOS-M straight off the bat and they really brought this new camera to life for me.

Its an incredible and super low budget little machine for indy filmmakers and its has a much smaller form factor that a lot of DSLR'S and mirror less cameras at this level. I managed to shift to using this as my 'A' cam on our newest feature (demoting the LX100 to B cam) with no fuss whatsoever. It also drags over some the GH4's camera profiles that help with getting those nice flat shots with plenty of dynamic range and has some pretty nifty focus updates coming sometime this year. This really is the best camera I have EVER owned.

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PANASONIC GH4 (£900-£1400)

The GH4 is well known as a great piece of filmmaking kit. During my 4K research the camera came up over and over again. It now sits at just under £1000 for just the body and a little more for a complete Kit. The price of it has been steadily coming down over the last year and I expect to see a large drop when Panasonic releases its next model.

Now I don't own a GH4, so I don't really want to dive into any major depth about the usefulness of the camera as my exprience with it is limited. What I do know, is that it is incredibly similar to the G7, but with all the little niggles that that camera has taken out. It features better a better 4K codec (Mov) and a headphone output. In general this is a great home run camera for 4K filmmaking and although its a little outside of my budget right now I'll certainly be looking to make this my 'A' camera in the future.

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This isn't the end of your options when it comes to 4K, the newly release GX8 is essentially a bridge between the G7 and the GH4 that seems like a great option for a B cam set up. The FZ100 is a bridge camera with a built in lens and is similar to the LX100 in a lot of ways but with the form factor of a larger SLR. These cameras weren't really options as far as I'm concerned due to things like low light performance and price and because of that I didn't feel they were viable options for me.

Of course, this is all my opinion. The great thing about filmmaking is that its like being an artist. You find the brushes (or in this case cameras) that suit what you do best. I believe that there is no One 'Perfect' camera, but when your making low budget stuff its better to try and get as close to that as possible.

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This may all sound like an advert for Panasonic cameras, but I promise that that is not the case (although some free kit would be nice), the simple fact is, at this moment in time, Panasonic are offering the right kind of picture quality that I'm after at a budget that I can afford as a low/no budget filmmaker. Sony have affordable(ish) options, although not really in my budget range, but they just weren't for me.

Listen, of course there are better options at a higher price that only shoot HD that and if you cash afford something at those prices then that great and you should go an do it. The point here is that you can buy an excellent HD camera with a 4K option, for the price of an equivalent camera that only shoots HD. To me, thats a no brainer. 

The good news is I think we'll see a shift in more companies offering this kind of tech at entry level prices, especially with Nikon releasing 4K DSLR into the market in the next few months, 4K will become common place before we even know it.  

But the most important thing isn't what your shooting on, its what you shoot and how you shoot it. So don't get caught in the resolution battle. Use what you have to do what you can. If you're always chasing tech you'll never have time to make anything. If 4K shooting had been out of my reach I wouldn't have stopped making movies and neither should you.

Just remember that resolution is a very small part of what makes an image look great.

MJ

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http://slasherhouse.com

THE ULTIMATE FILMMAKER TOOL : THE IPAD - THE FILMMAKERS BEST FRIEND

**PLEASE NOTE : I am not sponsored by Apple in any way to write this post , if I was, I would hope they'd send me something better than an outdated, refurbished iPad 2.
You should also note that I'm a Mac user so it made sense for me to go with the iPad, but I'm sure that a cheaper Android (or other) tablet can do just as good a job as this thing.

A decade or so ago, back when I was making short films on a camera the size of a small car (joking of course, but not by much) I remember the feeling of dread as I would stare at the boxes and boxes of equipment and paperwork that needed to be lugged along with me for even the smallest shoot.

Hell, even just doing a reccee (Location scout) would involve me having to load up a large rucksack or sometimes a car with a stills camera, video camera, pile of paper work, scripts, notepads, sketchpads and various other 'useful' items and that was just to look over  a suitable location.

When I started pre production on Legacy of Thorn (My 3rd feature) in 2013 I was looking for a solution for something completely different. For years I had used an old chalk slate to sync sound, but that always seemed a little cheap and we were trying to take a step up.

Looking into a new slate, I started to notice how expensive they were, for a piece of plastic that you write some stuff on they were fairly over priced and electronic ones were 100's of pounds out of our budget. Looking into low budget solutions I discovered that you could actually load one of these things onto an iPad via an app. The only problem was that an iPad cost about 4-8 times more than your standard chalk slate.

After some research I discovered that I could pick up a refurbished iPad 2 for £200 * (which was just over double what I would have paid for the plastic white board slate) and that would come with a decent 16gb memory, that seemed like a good deal if it could do what I needed it to do, but that wasn't quite enough for me to pull the trigger on it. I did some more research.

*You can get a much more up to date iPad for much less than paid for this one today.

To make the investment worth while it needed to be able to take over more than just just marking
duties, it would have to be able to do a whole lot more. It became obvious to me very quickly that not only would I be able to do a great deal of other things on using this little device that could slip in my shoulder bag, in fact, I could almost cover my entire creative process from start to finish.

So here is a list of of the apps I use throughout production from start to finish, some are free, some are cheap, But i've made a point to never spend more than a few pounds/bucks on anything to go with it. So lets get started.

PRE PRODUCTION :

CELTX (£7/$10)
Celtx is a paid app, it costs about £7($10) and although there are free apps out there that do a similar job, I use Celtx on my main laptop and desktop for writing when I'm at home so it made sense to have an app that would be compatible with the scripts I had already written.

The app itself is fairly similar to the desktop edition, with a few things tweaked to make it work with touch screen tech, but nothing major. Since I got the app I've actually written two features on it from start to finish, the small screen size makes navigation a bit more difficult, but its certainly possible to use the app to write your next film.

I paired it with an iMac keyboard to make typing more comfortable, but in a pinch its fine to use the touch screen keys if your out on the road. It doesn't feature then Prose setting that the desktop version has, but that seems tone all thats missing.


PAPER (Free)
Paper is probably the best app on the iPad in terms of sheer value and power, in the last 2 years I've watched it go from a fairly capable, if somewhat limited, tool to a powerhouse for tablet artists. The original version came with one pen tool and a limited colour set. I bought the extra art tools for about £5 and it really opened the app up for me.

The app now comes with all these tools as standard and its still free on IOS. I've used this app for everything from costume design, to storyboarding, to expressing ideas to cast and crew and plotting out movies. Its an extremely powerful tool and probably my favourite to use.

There is an official 'pencil' you can buy for about £50, but i've found that a basic Stylus from poundland (Comes in a pack of 2) works just as good :)


CAMERA (Free)
Your iPad comes with a camera app as standard and its improving all the time with updates and added features. Now instead of taking a whole bunch of gear to a location for reccee's I simply take the iPad and run off some pictures through there.

The biggest advantage of this is that I can send them to other crew members instantly via dropbox, or the cloud and of course I can skim back through them with ease to show team members what we found there.

Its exposure and focus is automatic so it not really any good for judging light levels or anything like that, for that I would take a smaller camera rig if needed, but for grabbing reference pictures its perfect and it means I have my notepad at the ready on the same device should I need to take notes.



VIDEO (Free)
Another app that comes as standard and another app that is extremely useful. Its really just a  functional extension of the camera app and comes with same exposure and focus draw backs, but it has a fair few uses.

There is an app called FilmicPro that costs about £3($5) but it does give you control over exposure/focus.

First of all, Videos of location can be more helpful than stills at times and if I can't make a scout, its amazing to be able to have a video sent over to me from the location. We never set foot in the location from Slasher House before shooting as it was essentially in another country on a small island. Our contact there sent us a video of the place and we could judge its suitability from that.

One of its more interesting uses is the ability to video storyboard. I'll quite often shoot a video storyboard of a scene during a scout to make sure that the location has all my desired angles and if it doesn't what do they have to be changed to. The best part about doing it on your tablet is that you can be cutting the video storyboard (I'll talk about that later) in the car on the way home, If you're not driving that is.

PRODUCTION :

MARKER SLATE (Free)
The main reason I invested in the tablet in the first place was that I was aware that I could use it as a Clapper board and it would look a little bit more professional than using the old skool chalk board that I'd use for the last few years. It was only researching all these other things that it could do that really sealed the deal for me.

If you're shooting sync audio, which we usually do, then you'll usually need to be marking each shot with a slate. The View Finder Marker Slate is free, its a pretty basic clapper, but its everything I need when it comes down to finding and syncing shots in the edit.

There are probably much better slate apps out there, in fact, I know there are, but they cost a fair chunk for an app and the free one I use works just fine.


SIDE BOOKS (Free/£1.50 unlimited docs) 
The days of having dozens of paper copies of the script littering the set are over. We can now take our script in the same slimline package as everything else and share it out with the rest of the cast and crew to read on their phone or tablet.

Side Books is another free app, I just transfer the script onto it before we go to the shoot and then I have instant access to it when we need to check anything or run dialogue. It really cuts down on having a lot of extra paper to carry around etc. Now we can even use it to have people sign releases etc.

I believe there is an extra charge to store more documents of about £1.50, but it stores half a dozen documents as standard as far as I remember.

Note : we usually do have one hard copy just in case. 


LENS+ (Free)

As I've said before, you could easily shoot a decent looking movie on a phone or an iPad now (especially with the quality of the camera in the newer iPhones which now shoot in 4k), whilst the camera app built in to the iPad is pretty basic, Lens+ allows you to emulate some cool, old skool film stocks in the camera itself and it leads to some fun results.

It is by no means professional looking, but its fairly useful for specific tasks. I used it to shoot some old style movie footage on the go a while ago for a prospective project that came out great and I tend to use it for shooting some pretentious behind the scenes on music videos which is pretty awesome if you're a hipster.


PLAY MEMORIES & PANASONIC IMAGE APP (Free)
This a quite app specific, but as I currently use Panasonic Lumix and Sony Action cams these two apps respectively let me use the iPad as a monitor for those awkward shots, such as crane shots, high shots where I can't get a good look at the LCD.

Sometimes I will just use it as general monitor, although being self shooter that doesn't come into play too much, but it is incredibly useful for the action cam that does have an onboard monitor and the Panasonic app even allows you to control the camera remotely.

INSTAGRAM (Free)
Instagram is one of those apps that everyone uses these days. The main reason I find it so useful is that I can take, edit and share pictures directly to our Facebook/Twitter etc from it in seconds and thats very helpful when you're out on set.

Usually we're shooting in some abandoned school, factory, prison, wasteland etc and so wifi access on our sets is usually impossible. If we're shooting for 14 days, that could mean 14 days blackout on social media pages, which as a growing company is not good.

Instagram gives me the ability to send picture updates from set quickly and efficiently using my data plan. It also means that I can snap a picture, upload and then be back to shooting in seconds. You can do it with other social media apps these days, but this my favourite.

POST PRODUCTION :

IMOVIE (£3/$5)

IMovie for IOS is a touch screen, stripped down version of the app that comes pre loaded on Apple machines. This is by no means a pro grade editor, but for cutting quick pre vis stuff on set, its an absolute godsend.

Its does cost about £3/$5 or something like that. but its well worth the money if your looking for something that can do basic edits on the run. That said, with enough storage space on an modern iPad, i'm convinced you could cut at least a short film on one of these things.

I don't use this one as often as I should, but its nice to know its available to me should I need to do editing on the move. Like the desktop version its a very powerful tool, even if its missing one or two of the apps features.



GARAGE BAND (£3/$5)
This is probably my favourite app. Its a touch screen version of the program that comes free with any Apple System although this version will only set you back around £3/$5, it lacks some of the desktops editions functionality, but it more than makes up from it with touch screen keyboards, drums and things like Smart Guitar and Bass and even a full Orchestra at the end of your fingers.

This is one of those programs that I couldn't do without. I've written entire scores and albums using this thing, as well as it being useful for creating general ambience for projects, trailers etc. For about £10 you can also pick up an 'Irig' that will let you plug in mics, guitars and even a full mixing desk should you want to.

I use it as is and its full array of instruments is really incredible and the best part is that you can export your projects to the larger desktop version if needed to take advantage of the mastering tools, a larger array of sounds and of course in my case, auto tune ;)


PHOTOSHOP TOUCH (£7/$10)

This is about £7 and the most expensive app I own I think. Its another stripped down touch screen version of a desktop program, this time its Adobe Photoshop, but it has a lot of the functionality that the full program has, albeit a lite version. It is a bit of fuss to get your head around but its extremely useful for doing any graphic design work on the go.

I use it mainly for colouring as that seems to be its strong point, I can use the Paper app to sketch something out, do some quick, decent quality colouring in the Photoshop app and then message it straight over to cast and crew so they have an idea of whatever it I'm talking about in terms of colour for sets, costumes in my designs. It also has some cool features and filters that are similar to the ones found in the full version.


BLOGGER (Free)
If, like me, you keep online production diaries and write for blogs such as this one, then the FREE Blogger app is perfect. Almost 90% of the posts on this blog were at least drafted via the app. Its almost as fully functional as the full browser version, which of course you can still use via the tablets web app if needs be.

I use it all the time and its super handy to have on set or at home. I'm working on this blog write now using it and I figured it was good app to end on.

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I've been using this outdated, refurb now for over 2 years and I've never felt the need to replace it. I use it day in day out across the entire creative process and beyond it. Its not just a tool I take on set, its a tool that I use all day every day to help me keep on top of all my film related tasks.

It really is the most impressive tool in my whole kit and even though my screen is cracked and its grubby from its time spent in warehouses and abandoned buildings it comes with me everywhere and beyond its filmmaking uses, it serves as a great way to watch movies if I find myself at a loose end and that to me is what makes it a filmmakers best friend.


MJ

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SELECT YOUR WEAPON : What To Shoot Your Indie Movie On

I think its fair to say, that technology has moved on quite rapidly in the last half decade, a positive of this? We now have access to amazing filmmaking technology and that technology is becoming less and less expensive every month. However, the downside? Choosing a camera can be a bit of minefield if you don't know anything about them, and that can lead to worrying about making the right choice. I'm here to tell you that it might not be that important.  

When I was a teenager, back in 90's the simple fact was that you just shot on what you could, because not every family could afford the expense of a video camera. So it was either shoot on your Uncle's VHS-C camera, with its blurry viewfinder ( LCD screens were a dream of the future) or nothing. So I learned not to picky early on, and just work with what I had. 

I just wanted to make movies and it wasn't important to me that I couldn't get hold of the best cameras on offer, I just wanted to make movies and that was that, I would jump any technical hurdle to do it. For me, things have not changed, although they have become much, much easier. 

KNOW YOU ENEMY

First of all let me start by saying that, it IS important to choose the right camera for your project. The approach now for newbies is just to grab a DSLR with a kit lens and think that it will solve all your problems, but the fact is that SLR's aren't suited for everything, although I do agree that they are at least a pretty well rounded camera for a beginner or those on a low budget when it comes to imagery alone, they do come with 'hurdles' that must be jumped. But I'll talk about that another time. 

My point is that choosing the right camera for your project is important. To a degree. Depending on if you're shooting a documentary, a promo, a music video or a narrative will most likely dicatate what kind of camera your going to use. If you have a budget then your choices will grow and if not chances are you'll have to work with what you've got, but none of that should ever stop you from shooting something, because a camera does not dictate how good of a filmmaker you are, how you solve problems does. 

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Camera's are more accessible than ever now, you can pick up a DSLR that shoots Hd footage brand new for £200 right now and start shoot nice looking footage. You can get an HD (Shooting in 1080!) camera with Ninja Turtles stickers on for £30 right now and just start shooting. It's just about knowing your limits, jumping the hurdles and working with them to solve the problems they present to you. You can shoot a movie on you phone now with relative ease, ON YOUR PHONE!!! (Note : this blog was written in 2014)

We shot a little practical joke Trailer for April 1st in 2014, and we decided to try and utilise stuff we had to hand, which was an iPhone and an old rowing machine that we dismantled and used as a slider. It had a few draw backs, but it came out ok for a first crack at using a phone to shoot a movie. 

WHAT YOU SHOOT ON IS NOT IMPORTANT (Kinda)

I went to University with people who wouldn't shoot on anything but film, they refused. They we're waiting till they could afford to shot thier 35mm feature and as a result a lot of them are now married with kids or have full time jobs at a supermarket or a call centre and, of course, never made their movie. The same goes for a lot of filmmakers I meet now, the are waiting for their budget so they can shoot on a 'Red' but of course that budget doesn't come because they won't budge or compromise and so haven't proven they can make anything and probably never will. By the time they can afford to shoot on a Red it will be dead tech and we'll have moved onto 17K or whatever is the future of film format happens to be.

In 2009 I planned to shoot my first feature Creepsville on a £300 Panasonic 3ccd Camcorder (man was 3ccd important back then), about a month before shooting, the Univeristy stores guys told us they had some Sony V1 cam's and that we could borrow them after hours outside of term time when no one was using them. We jumped at it, because although it's important to get by with what you've got, it's also important to shoot on the best possible equipment that you can, as long as it's not harmful to your movie. 

On Slasher House I looked at renting a Red, however the rental for 2 weeks in 2010 was about £5000, that was our entire budget, so that would have left us no money for location, costume, travel, resources, food etc. I decided that it wasn't worth struggling through the rest of the movie with no more resources and so we shot on a Canon 550d (back then with 2 lenses and an SD card cost me £1000) which I bought rather than rented, which meant that we had it permanently for the rest of the films shoot.

The fact is that, you should of course use the very best equipment that is available to you (but that is completely relative)  if you can use a Red or a Black Magic or a GH4 or whatever and can afford the extra cash for storage, then by all means do it. As long as it not detrimental to your project. Ultimately though the truth is this, you can shoot on whatever you want as long as you have a great story (and decent sound!). As long as its engaging your general audience doesn't care if shot on a £40,000 Red setup, a DSLR, A phone or a £30 quid HD camera with Ninja Turtles stickers on it. There really is no excuse. 

Now go shoot something :)

Just remember that what you shoot on is not a substitute for talent or skill and no camera is going to make you a better cinematographer or filmmaker the same way that no camera will make you a worse one. 

MJ

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LOCATION, LOCATION, LOCATION : Getting The Most Out Of Your Set

READ THIS** Ok once again, this is just my approach to filmmaking, its not here to cause offence or tell you you're doing it wrong or that i'm doing it right, its just here to share my approach to the process. There is no right way, if this all seems to basic for you then maybe you don't need to read it, or it might serves as a nice refresher for you, it purpose however is to help people who don't know where to begin. But once again this is just how I do things and you don't have to listen to it. 

Locations are extremely important when working on any film. However if you're working on a low budget movie, it can make or break your film. I've lost count of the amount of films I've seen filmed in someone's mom's kitchen, living room, back yard, the field out the back of thier house. I'm not judging, you have to work with what you've got, I mean the sheer amount of movies I shot as a teenager in these kinds of environments is staggering, But it really helped me learn many filmmaking lessons, the most important one being, a good location is everything. 

FINDING LOCATIONS

When I was writing Creepsville, I spend a good few weeks wondering around at night, To judge what the locations would actually look like after dark. It would amaze you the amount of sets I've been on where people have done a recce during the day and then been surprised to find that it was completely unusable after dark. So I waited till the environments were how I would want to use them and then wandered around finding interesting locations to shoot in, places that were well lit or just looked interesting. Then I looked at which of those we could shoot legally (without a permit) and then chose my locations around that. 

For one of the films set pieces I knew that I wanted to use a garage space that they had at the university. I'd used it in my short film Before The Dawn (2006) and it had added incredible production value to my little low budget short and knowing I had access to it in the evenings, I wrote it in. We spent about 4 nights shooting one night inside and then 3 nights on the exterior before our lead took ill for a couple of weeks, knocking us back and behind schedule. 

LOSING LOCATIONS

The Original Garage Scene from Creepsville

About a week later I was wandering past the garage on my way to the University and noticed that the garage looked exteremly light inside. I got closer, only to find that they had completely removed the roof. I was in a panic as we still had about 4 more interior shots to tie the whole inside and outside scenes together. The next day I returned to find that the whole building had just gone, just like that. No warning, no nothing. We couldn't complain, as they had been kind enough to let us use it for free. But we did lose one of the biggest, most expensive looking scenes in the movie. Which was down to some solid acting by two of our actors and of course the huge expansive realism of the location.

The less ideal Reshoot Scene set in House

Luckily one of the most important things about shooting movies is 'Always have a back up', especially when it comes to Locations. We had to re shoot the scene in an abandoned house (which we had looked at for choice when scouting) about a month later, it still worked, but not on the same scale. We also lost our only real stunt sequence in the movie because of it. But more on that another time.

The biggest loss, was that the garage was a working garage during the day, and boy did it look like it. That added so much production value that we just couldn't have put in ourselves building it as a set, there were old fridges, trees cuttings mattresses, two large pick up trucks and oil and dirt everywhere,  it was incredible and it felt, well, real. Because it was.

USING LOCATIONS AS A CHARACTER

EXT. SLASHER HOUSE

INT. SLASHER HOUSE

When we came to shooting Slasher House, we began to struggle finding a building that was run down enough, yet safe enough to let us shoot in throughout the UK. We sat down and started to talk about building the set, as a bunch of interchangeable panels. It wouldn't be ideal and we would lose the realism that I wanted for the film. In my eyes the house had always been a character in the film, an ominous presence and I felt that bulding it on a set would see us lose that. 

Luckily, thanks to our leading man Adam Williams, we found an abandoned prison on the Isle Of Man, who, after a bit of persuasion, allowed us to shoot there for a small price. Of course we had to get our cast and crew out to an isle off the coast of England, but, once again, thats a whole other story. The location was everything I was looking for, it had a character all of its own, that we couldn't have artificially created in a million years. It may have cost us about a third of our budget, but hell, it worth it. 

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DOUBLING UP LOCATIONS

When it came to finding locations for Legacy. Of Thorn, we had to be a bit smarter. It was written around 2 main locations, but in reality was probably about 5 or 6. The trick we had to employ here was finding an existing location that served as a potential production base whilst also bring production value to the film whilst at the same time encompassing all the other locations that we needed throughout the film. A warehouse, a hospital ward, a rooftop and some kind of medium sized cabin. A lot to ask, but essential in making a low budget film like Legacy of Thorn work. Boy did we get lucky.

The school that doubled as Avondale High

Our producer Anna managed to get us into an abandoned school complex that housed all but 2 of our locations. It was kind of incredible and, of course, there's nothing that looks more like a school than a school. However because of the size of the complex the other locations, 'the warehouse', 'the rooftop', 'the abandoned outhouse'. They were all there too and they had all been used and then abandoned, and looked horrible, which made them perfect for our movie. 

The school, we had to clean up, as it needed to look operational, which also included us re flooring the gym, whilst also trying to shoot scenes (not fun for sound). 

But everything else was gritty and dirty and perfect for the look of the movie. If we had tried to turn a set into this kind of thing, we would have been well over budget by the end of it and still would have had nowhere near the realism that we wanted. The warehouse room doubled for the store room with some clever shelf movement, but still leaving us with that used looked we wanted.

The Gym we had to refloor for the Cheerleader Massacre

I think when finding locations when you are on a shoe string budget, you have to try and be efficient. If we have one main location, I always try and make sure that we can also house the cast and crew there if possible. This also saves travel headaches, and keeps your head in the game. It also means that you have your actors with you at all times (as long as they are scheduled to be there for a few days) when it comes to quick retakes or ADR or anything like that. 

I understand that getting a location to shoot your movie seems very obvious, but by being meticulous and getting the right location will change everything about your film. It will add expense and style and most of all it will really help your actors get into scene and character and all of this will improve the final product immensely. Or maybe your film takes place in your mom's kitchen, in which case ignore all of the above.

MJ

IF YOU FIND THIS BLOG USEFUL. PLEASE SHARE. You can keep up to date with our filming goings on at our FACEBOOK PAGE :)

ALSO IF YOU'RE BASED IN UK, MICROBUDGET MASSACRE AND THE MILTON KEYNES FILM NETWORK ARE HOSTING THE FIRST OF THIS YEARS SPECIAL 'MYCHO MICROBUDGET MASSACRE MASTERCLASS' LIVE SHOWS ON TUESDAY 8TH MARCH.  

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