Consider Specializing in Location Scouting

By Geoffrey Kinsey-Christopher

Photo from a location scouting trip to Ahwahnee, CA for Prologue, a Fourwind Films short film. Photo by Gary Jaquez.

Movies are all about escape, taking viewers from their real lives and familiar spaces to mythical lands, futuristic cities, olden-day slums and ghettos, hotel lobbies — the options are limitless. The choice of a movie scene’s location not only determines the producer’s ability to tell the story effectively but also the degree of enchantment the movie has on viewers. I know I’ll never forget Luke Skywalker’s home in the Tatooine desert. 

Location scouting is a technical process that requires an eye for detail, proper prior planning, and a high degree of professional engagement. It is gaining traction as a potent skill, which inspired me to raise awareness of its importance. It can be an entry-level position or a life-long career. Either way, specializing in this skill enhances the production quality and can provide steady work. 

Workflows

From the technical elements of the filming process and how the location enables them, to the bureaucratic, ethnographic, and creative dynamics, there is a lot that goes into scouting a movie’s location. It’s a laborious process, there is no question about that. For this reason, it is necessary that location scouts commence their job as soon as the script is out. With the script, the location scout will have an idea of how different settings will enhance the movie’s production process and, possibly, based on a perfect choice, become a hit in the box office.

A location scout will focus on a number of factors when determining the suitability of a location. First, the scout will be on the lookout for locations with an aesthetic view that meets the set requirements or standards of the movie directors and producers. It’s important to understand the nature of the location scout’s relationship with the scriptwriters, directors, and producers. The decision on the general scenery is left to these individuals, so the scout needs to find locations aligning with their needs. The budget of the movie will also determine choices. 

Technical considerations that go into the choice of a film location can easily fall through the cracks if location scouts fail to actively keep a checklist. For instance, it would be important to take note of the logistical feasibilities like accessibility, climatic conditions, lighting, parking, and power supply. To any other individual, these could be minuscule details that have little bearing on the movie’s production, but to a location scout, these are factors that determine the comfort of actors and their ability to perform optimally. 

Photo by DP Blake Horn using the Sun Seeker app on a location scouting trip.

Location Scouting Resources

The embrace of technology in the location scouting process can also help. There are, currently, a number of location scouting websites with databases of locations worthy of consideration. Peerspace, LocationsHub, and Wrapal, recently acquired by Set Scouter, are some of the popular location scouting sites. Additionally, Google Maps can help location scouts get lots of information about a site by simply keying in the address. Photos of the location could also be available online, simplifying the decision-making process. 

Happy Scouting!

Location scouting is not as simple as looking at the script and finding the next available point to shoot. For instance, a scene set in a jungle does not necessitate the selection of any forest. A location scout should know that there is more to a location than just the appearance and resemblance to the scene. For this reason, a location scout should be well informed theoretically and practically. I encourage freelancers and students taking filmmaking courses to consider location scouting as a specialization. It will make all the difference over the course of a career.

Find out more about Geoffrey Kinsey-Christopher on his Instagram, Vimeo, Letterboxd pages.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

10 Reasons Why You Need a Fantastic First Assistant Director

By Jessica W. Chen

Kate Branom in action as the 1st AD (https://www.katebranom.com/) on the set of Prologue. Photo by Daria Huxley.

The First Assistant Director or 1st AD is a film role that is super important, but many people don’t quite know all that they’re responsible for during production. While the name may lead some to believe that 1st AD’s direct, in reality, the 1st AD handles the logistics of the shoot by acting as the bridge between the director, department heads, and the crew. Executed well, these 1st AD duties free the director to focus on the more creative aspects of the production.

After observing the 1st AD on the set of my show Drama High and performing 1st AD duties myself, it was clear to me that a good 1st AD is indispensable to a smooth film shoot. Here are some reasons why you need an amazing 1st AD:

1. They plan the film schedule

While the 1st AD may not determine what days you shoot, they do plan what scenes can be reasonably shot each day and come up with a film schedule. A good 1st AD considers what time of day each scene needs to be shot at, and which locations are close to each other to reduce travel time between sets. Needless to say, if your 1st AD does their job right, then their film schedule sets you up for an untroubled shoot, saves your production time and money, and informs the team what to expect each day.

2. They break down scripts

Once the screenwriter turns in the final version of the script, the 1st AD works on the script breakdown, which notes what characters, props, costumes, and sound effects are in each scene. By having these elements clearly stated in the breakdown, the department heads know what they need to procure for each scene without having to reread the script and pick out which parts pertain to them. Thus, a wonderful 1st AD needs to possess both a keen eye for detail and knowledge of the production process.

3. They send out call sheets

Often sent out the night before, call sheets let the cast and crew know when they’re expected on set, and contain other important details, such as cast and crew contact information, weather forecasts, sunrise and sunset times, mealtimes, and even the nearest hospital location. And, guess who assembles all this crucial production information? The 1st AD.

Because call sheets include so much information that’s subject to change, don’t be surprised if your 1st AD continually asks you to confirm details — it just means they’re doing their job and compiling the latest and most accurate information for your team.

4. They maintain shot lists

Often created by the director and the director of photography (DP), shot lists detail each shot that the director and DP hope to get during the shoot. While on set, the shot list is often handed to the 1st AD, who then keeps track of which shots are done, which takes are the director’s favorites, and other helpful production notes. Again, having a keen eye for detail is important because a well-maintained shot list helps ensure no shots are missing and saves the director and editor time when going through footage during post-production.

5. They keep the production on schedule

When filming with natural lighting, daylight is everything. If you need to get a certain amount of scenes in before dark, having an efficient shoot is pivotal. And, the person who helps ensure that the production keeps moving is the 1st AD, whose job includes reminding the director of the shoot’s progress and how much time the team has to complete a scene.

Additionally, 1st AD’s are a much-needed extra set of eyes on set. While the director works with department heads or focuses on getting the best performance out of the cast, the 1st AD may remind other crew members what they could be doing in preparation or gently suggest cast members rehearse during downtime, so everyone’s set when the cameras are ready to roll.

6. They communicate with the cast and crew

A lot of communication on set goes through the 1st AD. If a cast or crew member is confused over what’s going on on set, they will often ask the 1st AD, rather than approach the director. Because of this arrangement, the 1st AD is also often crucial to keeping morale up on set because a testy 1st AD will be felt by everyone working that day, which may influence how everyone else approaches their jobs.

7. They solve unexpected problems

If you’ve worked on productions before, you know that crews are often over-prepared because what may go wrong often will go wrong. When a problem arises on set, it’s the 1st AD’s job to think on their feet and come up with a solution that saves the production as much time and money as possible.

For instance, if a location cancels at the last minute, the 1st AD may consider reordering the film schedule so the production can still move forward while giving producers time to find a replacement location. Similarly, if the production is running out of daylight, the 1st AD may suggest which scenes the team should shoot next with the limited time left.

8. They call the roll and perform the slate

Perhaps the most significant of the 1st AD’s duties is to call the roll and perform the slate. Calling the role refers to voicing cues that notify department heads that filming is about to start.

These cues may include:

• Quieting everyone on set

• Tracking which departments the team is waiting on

• Asking for final checks on hair, makeup, and wardrobe

• Signaling the sound and camera department to start rolling

Performing the slate involves announcing which scene and take are about to be filmed, and using a clapperboard to create a sharp sound that the editor and sound mixer use to sync video and audio during post-production. Both calling the roll and performing the slate help keep the production team on track, and when done right, also helps post-production teams better accomplish their jobs.

9. They keep the production safe

Moreover, the 1st AD is responsible for making sure the set is safe. These safety precautions may include letting the cast and crew know how best to evacuate a set in case of fire, or coming up with safer alternatives if a department head puts forth a risky suggestion. A good 1st AD predicts how a situation may go south, and preemptively prevents the team from endangering themselves.

During the COVID-19 pandemic, some health and safety concerns may also be shared with the COVID-19 compliance officer. However, it’s ultimately still the 1st AD’s role to maintain a safe workplace for everyone.

10. They mediate conflicts

Film crews often involve getting a large group of people to work in close quarters during high-pressure situations. Because of this, differences of opinion or personality clashes may explode on set. These conflicts not only slow productions, but they also poison the morale on set, which is why it’s essential for 1st AD’s to deescalate these situations and resolve differences so the production can move forward.

At the end of the day, when looking for a 1st AD, you need someone who’s hyper-organized, quick on their feet, and able to transition between being the conciliatory and firm voice on set. Once you find someone with the perfect mix of these traits, you’ll see an immediate difference in how your sets are run, and never take an amazing 1st AD for granted again.

Find out more about Jessica W. Chen and her work at her website. Or, follow Jess on Instagram, Facebook, and Youtube.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

How Wearing Many Hats Led Me to the Director’s Chair

By Cat Tassini

Photo by Albany Capture on Unsplash

“If you can think of literally anything else to do with your life, go do that.” This was the mantra that I heard many times during my first year of acting training. “You have to be obsessed with your character,” was another slogan, this time from my contemporary scene study teacher. As a nervous freshman in college, I took these words literally. Growing up, I had been enthusiastic about visual art, dance, theater, filmmaking, writing, music, and sports, but now I turned with laser-like focus to acting. Any time another desire entered my head, I felt agonizingly conflicted. I had auditioned and secured my place in the second most competitive undergraduate theater program in the country. Was I going to blow this opportunity by being unfocused and undisciplined? I was determined to give it my best shot. But I couldn’t keep all of my doubts — or passions — from creeping in.

I stuck it out for the two consecutive years at a professional acting studio required to graduate. However, once I had that under my belt I looked into other opportunities for learning. I ended up interning at a multidisciplinary art space in Brooklyn for credit. That was my introduction to the North Brooklyn DIY music and art scene, which indelibly molded my artistic perspective. It’s where I truly came of age. It felt like I had wandered into a creative wonderland—inspired, intimidated, and elated that I finally found a place that felt right. I even put up my own theater piece there, composing it with my theater troupe, and doing the sound, costume, and set design myself. It felt like I had arrived. 

Photo by KASHILEMBO WABU on Unsplash

My time interning opened up my mind and I felt confident enough to keep exploring. By graduation, I had designed costumes for a short film, taken art direction and set design classes, studied directing and producing, interned for a special event production company, stage-managed a show, attained a minor in art history, studied abroad, and put up multiple original theater pieces. 

Photo by Isi Parente on Unsplash

However, once the anticlimactic reality of postgraduate life set in, I looked back on my many experiences and wondered whether they actually added up to anything cohesive and meaningful. It didn’t help that I graduated into the 2010 job market. It was easy to feel like all the effort I’d put into my undergraduate education didn’t amount to much of anything in the real world. As I wandered through postcollegiate disorientation, hopping from city to city, and trying out different jobs in and out of the entertainment industry, I felt weighed down by nagging doubts. Would I ever be good enough at anything if I couldn’t concentrate on one thing? Would I ever be able to support myself without a “day job?” Would I ever be able to get a day job outside of the service industry? I felt restless, but I still felt guilty about it.

These doubts still haunt me, but less so than when I was a bit younger and greener. I now have the knowledge and perspective of someone who has written, directed, and edited a body of work, screened short films at festivals and racked up years of experience working in film, television, and event production. What I didn’t realize before is that it’s common to bounce from department to department or take time off from one career to pursue another.  It is also totally okay to take time off from filmmaking because you need to work a day job, care for a child or sick loved one, or take care of your own health. In a field as unstable and full of financial barriers as filmmaking, changes are inevitable. Managing your passion for your craft with real-world demands is a balancing act. As circumstances and priorities change, a career will inevitably go through any number of evolutions.

Multimedia is a constantly changing field, and one must make a conscious effort to keep up throughout one’s career. Along with that learning comes paying for classes, trading something you already know and are adept at, and learning on the job. If you’re trying to work your way up starting as a production assistant, it’s great to have multiple skillsets since you never know quite what you’ll end up doing. It is also valuable to have lots of skills in your back pocket to offer in exchange for someone else teaching you the skills you lack. A mentor of mine once described trading art direction work for an After Effects lesson. Finally, there is the practical reality that until you are locked into a union, if that’s the path you choose, it can be easier to get freelance work when there are more roles you can fill.

Photo by Julio Rionaldo on Unsplash

Now that I am directing my first feature, I can see how my varied experience has prepared me for this. It’s essential to be able to wear multiple hats in independent filmmaking. On a typical day, when working on my own work and freelance projects, I utilize some combination of the following: social media, graphic design, grant writing, crowdfunding, blogging, research, correspondence, scheduling, and video editing. These involve wildly different yet interconnected skill sets. On set, I’ve worked in the following departments: camera, sound, art, locations, wardrobe, makeup, transportation, and of course good ol’ fashioned general production assistance (PA). Having many tools in your toolbelt and a spirit of adventure makes you an asset to any production. 

If there’s one thing I could tell my younger filmmaker self, I would say: don’t be afraid of having multiple interests. Embrace it! And don’t worry so much. Pursue knowledge for the pure love of learning, don’t try to force yourself into something because of its perceived market value. Something that you’re not sure about now could end up being one of your greatest assets in the future. “Follow your bliss,” as Joseph Campbell would say, and try not to be too preoccupied with how it will all turn out. Life doesn’t follow a linear path and that’s okay. Real life isn’t compressed into two hours and doesn’t have to follow the audience’s expectations for continuity of logic. Real life is messy and strange and beautiful in its own way.

Follow Cat Tassini on Instagram @disco_nap_art and check out her website. Follow her current project, a feature-length documentary about Trish Keenan, the visionary creative force behind the English experimental band Broadcast, on Instagram @echos_answer, Facebook, and Youtube. 

If there are questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Advice for Filming a Documentary in Cuba as a Foreigner

By Piper Werle

This article is based on an interview with Emily Feng. Answers have been edited for clarity.  

A young male ballet dancer in Havana divulges his passion for the art form in a culture known for fostering machismo. A successful Chinese restaurateur who fell in love with a Cuban man gives insight into her daily life.

Film still of Carlitos taking a private ballet lesson in Havana, Cuba. Photo courtesy of Emily Feng.

These are the subjects of documentary filmmaker Emily Feng’s two short docs: Carlitos and Tao Qi, named after the dancer and the restaurant owner, respectively. A couple of years ago, Emily took the NYU course: Documentary Video Production in Havana, Cuba. The course website is enticing: “From rhumba and salsa, Revolution-era art and literature to the recent opening of American influence, Havana is a landscape that is overflowing with possibilities for documentary storytelling — and it’s yours to discover.” The U.S. and Cuba have a fraught history, yet since Obama eased travel restrictions, more and more people from the U.S. are visiting the Caribbean island. 

This is not an article about how to determine your eligibility to film in Cuba. Rather Emily shares her experiences and biggest takeaways for anyone who can benefit from a first-hand perspective. 

The poster for Tao Qi, courtesy of Emily Feng.

Censorship and Checking Your Privilege

“Be aware of censorship, permits, your privilege, and your Western point of view. It’s really important to have an open mind and don’t let any past prejudices or judgments hinder you from telling the story that's true to their world,” Emily advises. All of the students in her program had to write up film treatments prior to travel and get them approved. On that, Emily shares:

“Anything related to the government, U.S.-Cuba relations, or anything political was kind of —  I guess the program also wants to be careful because it wants to maintain its relationship with Cuba. So they have to be super careful about the films we’re producing there.”

Fourwind Films actually considered filming in Cuba for the documentary Frames of Reference, but director Justin Joseph Hall was advised by Jon Alpert, director of Cuba and the Cameraman, not to bother. Frames of Reference examines the successes and failures of education systems around the world by talking to people directly impacted by them, and getting access to educational systems in Cuba was not predictable due to budgetary concerns. Justin ended up shooting in Colombia instead.

Having a Translator or Local Guide

Emily is not a Spanish speaker and was able to secure a local peer to help her conduct interviews and get around the city. Being with the NYU program gave her a special “in” to securing a translator she could trust and work with, though she emphasizes how friendly, open, and helpful the locals she encountered were, and how this friendliness reflects the wider culture: 

“In the first few days we got there we were roaming the streets trying to figure out where to go to find our subjects. And this lady saw that we were just a bunch of foreigners roaming around and came up to us and was like, ‘what are you doing here?’ We told her and she started naming all these ideas for us. She was like, ‘my husband’s brother works at this place, you could go talk about him, you could go interview him.’ Or like, ‘my friend’s friend does this, you can go talk to her.’ Everyone was so helpful, and so much communication is word-of-mouth.” 

Emily’s guide, a Cuban student who had worked with the NYU students to make his own film, was also instrumental in helping Emily get around, as public transportation and even taxis can be difficult to navigate. If you need a translator, Emily has this advice, which works for any language: 

“One thing I learned was that to build a stronger connection with my subject, even though he couldn’t understand me and I couldn't understand him, we had to talk to each other. I had to ask my questions looking at him instead of looking at my translator. So that the relationship is between me and him and not my translator and him. In order to build a more intimate bond with my subject I needed to ask like this, even though it felt really weird.”

Film still of Carlitos with his ballet tutor. Courtesy of Emily Feng.

Finding People to Interview 

Though it depends on when you go, Emily had limited access to the internet, and it’s not something that you can count on working. This makes for a far less regimented process than one might have while making a documentary in the U.S., or another country where Internet access is more ubiquitous. Emily says:

“I had limited internet access and social media usage, so finding subjects solely stemmed from talking to locals and getting referral after referral. It was a fascinating experience to make documentaries without the usual technology we have like emailing back and forth and calendar invites. It was definitely more of ‘a show up and hope they remembered that you had scheduled an interview with them’ situation. I think the most important thing was finding subjects that I connected to in some way, even though our lives were so different.”

Emily knew before arriving that she wanted to make docs about a male ballet dancer and a Chinese restaurant owner. Once she got there, she just needed to do the work of finding subjects. While that search took a lot of work, having the specific intention helped her find Carlitos and Tao Qi. Tao Qi caught her attention immediately:
“I remember when I arrived at the restaurant (named “Tien Tan”) she was just sitting outside by herself smoking a cigarette, she just looked so badass. She was wearing all red and looked so powerful. Seeing a female restaurant owner really drew me to her, and I was really interested in what her immigrant experience was compared to mine. Growing up in the Western countries I didn’t really hear about Asians in other parts of the world.”

Film still of Tao Qi in her home. Courtesy of Emily Feng.

Research and Mindset

I asked Emily if she had any skills or mindsets that helped her:
“I think it requires a lot of openness. I find that sometimes it’s very easy for people to go to a non-Western country with their Western points of view, and I think that that is not beneficial to the truth of the storytelling that you want to portray. You have to understand where they’re coming from, what their culture is, what their background is, to really tell their story. And I think that you need to be really brave. I’m a pretty shy and introverted person, especially since I didn’t know Spanish that well, so it was difficult for me to go up to people and talk to them, but I learned that people are so nice there.” 

She also recommends learning some Spanish if you don’t speak it in order to build stronger relationships with locals and doing research, including watching other films set in Cuba. Her class found Cuba and the Cameraman by Jon Alpert (who is a guest on one of Fourwind Film’s Feature & a short episodes) especially helpful. If you’ve seen Jon’s impressive documentary, which is currently streaming on Netflix, it only affirms all of what Emily shares. 

Emily Feng’s documentaries are making the film festival circuit! You can learn more about Carlitos here and Tao Qi here.

Emily Feng, director of Carlitos and Tao Qi.

About the filmmaker: Emily Feng is a writer, director, and editor based in New York City. She has worked on music videos, narratives, brand campaigns, and documentaries. Most notably, her documentaries shot in Havana, Cuba have been selected at Best Shorts Competition, PopDoc Awards, Asian Film Festival Los Angeles Hollywood, and Seattle Asian American Film Festival. She is currently working on writing her first feature film as well as working as a videographer and video editor for The Chelsea Music Festival in NYC. She aims to make space in the industry for stories of underrepresented voices and to connect people, despite our differences, through our shared humanity and emotions. 

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

How to Get Professional Level Sound From a Budget Microphone

By Andrea Green

Mic by Michael Rehfeldt licensed under CC BY 2.0.

Podcasting and DIY recording have been on the rise thanks to newer, more affordable technology making it possible to record your own podcast or music project. However, achieving a professional-level sound from home requires some strategy.

Whether you’re working on a podcast or dabbling in DIY recording for your band, music, or film project, or even going a step further to start your own record label, the quality of your equipment won’t always be up to par with professional recording studios. In fact, recording equipment is often the biggest contributing factor to the costs of a new recording label, and renting out a sound studio can cost upwards of hundreds of dollars per hour. The good news is there are ways to improve the overall quality of budget-friendly recording equipment. Here are some tips that you can apply to your future recordings.

Preparing Your Space for Recording

Preparing your space can drastically boost quality. There are a variety of ways you can go about this.

Soundproofing your room can reduce unwanted noise during recording sessions. A great DIY way to do this is using tape or weather stripping to seal off windows and doors.

Another option is using a microphone isolation box. Isolating your mic will go a long way when it comes to capturing crisp and clean vocals without going through the hassle of soundproofing an entire room. And while you can purchase microphone isolation boxes, opting to make your own may be worth it if you have the time to spare as it only requires a few easily obtainable materials.

What to Look for in a Budget Microphone?

It goes without saying that budget microphones aren’t created equally, but some mics can give you more value for your money. The amount you’ll want to spend may vary but somewhere along the lines of $80-$500 will work for high-quality home recordings.

You’ll want something durable, affordable, and reliable. Several mics fit this description. The Audio-Technica AT2020 and is a great option due to its affordability and pristine sound quality. If you’re looking for something a little more user-friendly, the Blue Yeti Nano USB microphone is also a good choice. The Blue Yeti Nano USB mic is a solid plug-and-play microphone that offers less versatility than the AT2020 but may be easier for people without any previous recording experience.

Fourwind Films can also vouch for the Sennheiser ME 66 Shotgun, Zoom L/R mic, and Sennheiser G3 wireless lavalier mic which they’ve used for their Feature & a short podcast and documentary projects.

Things to Note When Mixing

There’s a chance that the recording quality from a budget microphone may still be lacking even if you consider the previous tips. Luckily, you can also improve the quality of the recording while sound mixing using compressors and limiters.

Adding reverb and echo are other great ways to improve the overall quality of vocal recordings. Using reverb gives the recording a fuller and more natural sound. However, it’s important to note that overusing reverb can dampen the recording. It’s best to play around with reverb until you get the optimal result as there’s no one size fits all solution.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

6 GOTV Videos That Actually Work

by Piper Werle

Any U.S. voter spending time on the internet has noticed a huge influx in ‘get out the vote’ (GOTV) videos. My full-time job is curating social media content, and GOTV material has made up the majority of posts for the past two months. The sheer amount of people working to encourage and educate voters leading up to what may be the most important election of our lifetimes has made me a little numb, but these six videos took unique and effective approaches in a saturated market.

My fascination with the GOTV video is two-fold:

As evidenced by the 100 million people who didn’t vote in 2016, motivating people to vote is hard to do. This isn’t surprising given the barriers to voting that many may face in a process that should be simple and accessible to all, as well as the fatigue and disillusionment a lot of folks feel towards the current political system. A great GOTV must find ways to acknowledge this and still show people why casting their ballot is worthwhile. Ideally, it will make a cynical voter excited to participate in a less-than-perfect Democratic process in order to make it better in the future.

As a video producer, it’s educational to learn from content creators who got it right!

6. Diane Guerrero’s steamy voting PSA*

This is worth a watch for the double entendres ALONE. “Because it’s healthy to have fantasies! To imagine a world beyond the binary of two choices!” This video’s spokeswoman, clever script, and campy concept do not pretend that everything is fine here in the U.S.A., yet I still left feeling ready to travel to my ballot dropbox, and send postcards to voters in swing states.

Audience: progressive Latinx voters, immigrants, and their allies.

Call to Action: GOTV for the presidential race.

Fill that box. Wear protection. And make a plan to vote safely. This is no time for abstinence! https://vote.org Featuring: Diane Guerrero Written by: Josh H...

5. “Preaching to the Choir” with Mandy Patinkin and Kathryn Grody*

The presidential election gets all of the attention, but we need to talk about the pivotal Senate races on the ballot. That’s not even the real reason I’m including this video though. The true motivator is the puns. Just watch the first six seconds and you’ll see 👀 what I mean 😠. Hey, if a hook works, it works.  

Audience: children, parents (and apparently me, a weary millennial).

Call to Action: GOTV for various Senate races. 

Hey kids! Come learn about flipping the senate with us, it's fun AF! Don't believe the polls. Trump has inverted reality. Help get out the vote in swing stat...

4. “What Trump Fears More Than Coronavirus”* 

This video takes a meta “Scream” approach to its storytelling. No, Ghost Face does not make an appearance, but the first section of the video is dedicated to showing exactly what is wrong with past GOTV videos, showing some welcome self-awareness. The narrator, Xiuhtezcatl Martinez, an environmental activist, and hip-hop artist, then uses examples from the Civil Rights movement and other points in history to show who the real heroes are behind iconic laws that passed. (Hint: Lyndon B. Johnson needed a ton of pressure to get to the point of passing civil rights legislation.) This video takes a huge risk by being twelve and a half minutes long but pulls off a nuanced, unique, and compelling argument for their candidate endorsement.

Audience: Sunrise Movement supporters, mainly youth activists and adults supportive of environmental activism.

Call to Action: GOTV for the presidential race.

Young people have the power to crush Trump, and he knows it. That's why he's trying to steal the election, but we're going to be there to stop him. Once he's...

3. Get Your Booty To The Poll (NSFW) 

The hook: civically engaged exotic dancers. The payoff: FACTS about why it’s so important to vote down the ballot for more local officials that have a huge influence in communities.

Using sex appeal to get out the vote is not a new tactic, but what sets this video above and beyond its predecessors like this one with Madonna, and this one by— okay never mind actually, this one by Grindr is pretty good. But ‘Get Your Booty to the Poll’ is GREAT for two reasons. 

First, this whole video is a grassroots effort by Black Georgians. A Black woman named Angela Barnes directed it and raised the funds via GoFundMe with a producer, Paul Fox. On their fundraising page they explain that any funds not going toward the campaign will be donated to “the Black Male Voter Project, Fair Fight, and other non-profits committed to educating voters and fighting voter suppression in our communities.” It’s clear the dancers care greatly about the cause as well, and the campaign has an excellent website. Also, the fact that this lacked the resources of most famous GOTV videos, doesn’t have a single celebrity and still managed to go viral is a testament to its brilliance.

Secondly, the video hones in on a topic very few other voting videos touch: voting down-ballot. The only other one I’ve seen that does this is this video by Yellopain, but he doesn’t go as hyper local. For example, one of the lines in Get Your Booty to the Poll is, “Want trades and coding taught in our schools? Then vote for the school boards that will prepare us for the job market.” I love the specificity that goes above and beyond throwing “VOTE” in my face over and over again. Now watch the video and, hey. Get your booty to the poll. 

Audience: Black voters, particularly Black male voters.

Call to Action: Research and vote for candidates down-ballot.   

Are you already planning to vote? Good. This video isn't for you. This is for men who are undecided about VOTING.We encourage everyone to get out, research t...

2. This Is The Time (music video)* 

Shout out to Youth Vs. Apocalypse for making a GOTV music video that acknowledges this significant moment in history for environmental and racial justice. Using dance, rap, song, and an array of young and talented performers, their tone is engaging and demanding. “We don’t just want to be inspirational, we want you to meet our demands.”  

Audience: Youth, adults, Spanish speakers, supporters of Black Lives Matter.

Call to action: Encourage youth to vote and/or to encourage the adults in their lives to vote. 

ThisIsTheTime to fight cuz we have the power, and when they try to silence us we just speak louder" Text "THETIME" to 56525 or go to thisisthetime.org or to...

1. SPOILER for a feature-length film that just came out: 

. 

. 

. 

. 

.

.

.

.

.

Borat Subsequent Moviefilm (aka Borat 2)* 

The payoff of this wildly over-the-top satirical film is that it’s a get out the vote effort. 

Audience: Anyone willing to listen.

Call to action: GOTV for the presidential race.

BORAT 2 Official Trailer (2020) Sacha Baron Cohen, Comedy Movie HD © 2020 - Amazon Prime

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com. In addition, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And of course, we are always building our community! Let us know if you need help making a video, film, or multimedia project of your own.

*Partisan content.