{"id":117566,"date":"2019-08-05T06:00:25","date_gmt":"2019-08-05T11:00:25","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=117566"},"modified":"2019-08-04T05:51:48","modified_gmt":"2019-08-04T10:51:48","slug":"tips-avoiding-stress-solo-filmmakers","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/tips-avoiding-stress-solo-filmmakers\/","title":{"rendered":"Practical Tips for Avoiding Stress and Saving Time as a Solo Filmmaker"},"content":{"rendered":"

Here are some common sense tips to consider on how to relieve stress and save time on your next adventure as a filmmaker.<\/h2>\n

Stress is the ultimate enemy for a solo filmmaker. Whether it\u2019s a wedding, a music video, or even a passion project you\u2019re making by yourself, nothing can cripple your workflow more than an onslaught of stress. Of course, this is not to say that if you were working with a large team you’d be stress-free \u2013 you wouldn\u2019t. But with a group, there are people you can lean on for support, and there’s always an extra set of hands when you need it.<\/p>\n

Many of the stressors during a project start as small things that can be easily managed. It\u2019s not as if a solo shooter will be rigging up a Condor. More than likely, it’s something along the lines of not being able to find the key or tool needed to remove the camera rig so it can fit on a gimbal.<\/p>\n

There are several steps I now follow when I\u2019m filming by myself. Sure, they might be common sense tips, but it’s the type of advice you don’t really think about until you find yourself in a particularly stressful situation.<\/p>\n

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1. Set Up as Much as Possible Before You Arrive on Location<\/h3>\n

If you’re filming an event, especially one like a wedding or christening, there are going to be special moments that can\u2019t really be recaptured if you miss them. Even if they can be reenacted for video, the initial spontaneity will be missing. I\u2019ve found arriving on location already 90 percent ready leads to more favorable captures and no missed moments. And, of course, there’s less stress in trying to assemble your equipment without guests frolicking past you.<\/p>\n

Of course it\u2019s not practical, or even safe, to drive to an event with with gear that’s completely set up. You may not have the room to even do this. But, if you\u2019re operating a mirrorless or DSLR camera, due to the small size, you can actually choose from a number of cases on the market that allow you to set up the camera ready to film. If you have a larger camera, say the URSA Mini, you can also find a bag that allows you to transport a fully assembled camera. The Porta Brace URSA Mini<\/a> bag is an example. You can equip the lens onto the camera, and have it rest securely on the lens cushion. The bag is spacious enough to equip a battery, the shoulder rig, and the top handle, and there’s even a protective space for the EVF. The only component that needs to be detached is the Rosette extension handle.<\/p>\n

\"Practical<\/a><\/p>\n

Earlier this year, I had to film early morning in a blanket of fog. After walking from the car to the shorefront, I simply had to remove the URSA Mini 4.6K and attach the side handle, and I was ready to shoot. However, it was so cold I had a tough time attaching the handle. I can’t imagine what it would have been like to assemble the URSA Mini 4.6K from scratch on location. Not to mention carrying one bag vs. several cases is always a blessing for a solo filmmaker.<\/p>\n

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2. Minimize the Amount of “Winging It”<\/h3>\n

Something that always used to fluster me was arriving on a location that had already been scouted, but not correctly planned for lighting. I’d arrive with an arsenal of gear and an idea of how the location was going to be lit, but I had not worked on a lighting diagram. So I would wing it and end up spending way too much time pushing the light stand into different places, trying to figure out what level of diffusion I wanted.<\/p>\n

On a feature set, you’ll have gaffers working to see what intensity of light works best. But, they\u2019ll be doing this as a team, while the rest of the production moves forward. On a solo shoot, when you\u2019re spending one too many minutes trying to figure out what gel you want on to the light, everything else has stopped. In my case, my actors \u2014 who could’ve otherwise been working \u2014 were sitting on the couch waiting for me to start.<\/p>\n

If you’re shooting an event, you\u2019re not necessarily in a position to light the entire location and will likely be shooting with available light. If it’s a passion project, you can do either of two things: light the location the night before and adjust for the actors the following day, or if that isn\u2019t an option, you must create a lighting diagram to give yourself a head start the next morning. Alternatively, you can try CineTracer<\/a>, the new pre-vis game by Cinematography Database<\/a>‘s Matt Workman. The team over at Shutterstock tutorials<\/a> have a great video tutorial that explores the game, but to quickly summarize the entire concept \u2014 build a set, light it, and create a digital moving storyboard.<\/p>\n