Telling Stories Outside Your Personal Experience: 7 Steps for Staffing and Running a Writers' Room That Writes Diverse Stories Well

February 23, 2021

By Jessica W. Chen

Actors Winter Dunn and Craig Fishback on the set of the short film, It’s Who You know. Photo by Adrian Gutierrez.

Recently, I rewatched Mulan (2020) in preparation to record a podcast episode for Re-Casting the Movies, a non-profit that challenges people to think outside the box for casting. While I was viewing the film for the third time, I couldn’t help but ponder whether the lack of Asian or Asian American screenwriters played a factor in the movie’s notable cultural inaccuracies and Mulan’s unrelatable, inauthentic character.

As a writer, it’s often comforting to write what you know, without having to worry about inaccuracies or potentially appropriating someone’s culture. And, given the racial, ethnic, and class make-up of the majority of writers rooms, that explains why onscreen characters that aren't cis, white, upper-middle-class, straight, and/or non-disabled are still a rarity.

For evidence of how writers rooms don’t often reflect the world at large, consider a 2017 Color of Change study that found that “Fewer than 10 percent of the shows were led by minority showrunners, and only 14 percent of writers across all shows were members of a minority group.” And, a report conducted by GLAAD found that while the 2019-20 season of scripted broadcast programming reached a record high of 3.1 percent characters with disabilities, this was not representative of real life, as over 20 percent of people in the U.S. have a disability. These issues are structural and multi-layered but can be partially addressed in the writer’s room.

This makes me think back to the November 2019 writers’ room I created for Lil Swimmers Production’s Existential Crisis Club, a dramedy series about four 20-somethings who struggle with planning an alcoholic bubble tea bar's opening while grappling with the crushing existential dread of having life together by age 30.

In this series, one of the four 20-somethings is Gabe, a gay man who struggles with his love life. When I led the writers’ room that wrote Gabe’s story, I wanted to be sensitive and truthful to the gay male dating experience. As a straight, cis-woman, I knew this meant expressing and dealing with unique challenges, most of which I wouldn’t necessarily be familiar with.

So, how did I do this? Here are the seven steps that I learned about how to staff a writers’ room that can write diverse characters:

Step #1: Staff the writers’ room consciously

I’ll admit that I kind of failed at this part for Existential Crisis Club because I had initially populated the writers’ room with my close writer friends without thinking too hard about staffing consciously. Thankfully, I’m friends with people from a variety of backgrounds. Upon further inspection, I realized that out of six writers, half identified with being part of the LGBTQ community, which worked well for telling Gabe’s story.

More recently, when I started from scratch and formed the writers’ room for Drama High, I knew better. I took care to assemble a group of writers who I knew came from different life experiences and could bring something unique to the table. Despite Drama High being a love letter to Asian dramas, I made the decision to also recruit writers who weren’t Asian or Asian American. The writers who weren’t Asian or Asian American were still Asian drama fans, which I find invaluable since international drama fans need a voice in our room, too.

Step #2: Consider hiring cultural advisors

This tip may be more aimed toward higher budget productions. However, if you have the resources, then hiring cultural advisors is a smart investment for helping your writers tell more authentic stories that are respectful to the communities you’re drawing from.

You may have heard how Disney put together the Oceanic Trust, “a group of anthropologists, cultural practitioners, historians, linguists, and choreographers from islands including Samoa, Tahiti, Mo’orea, and Fiji,” to serve as cultural advisors for Moana. Or, even science advisors for Marvel movies. These subject matter experts (SME) act as consultants to help steer productions away from inaccuracies that may distract from the story or cause offense.

Step #3: Hire more than one voice per experience

While you may not want to have more than ten writers in your writers’ room, be sure to hire more than one voice per experience you want to tackle to prevent tokenism. Tokenism involves “including someone in a group purely for the sake of sounding or looking diverse.”

Hiring more than one voice per experience keeps in mind that not everyone with a particular experience has the same experience. For example, consider that “the Asian American experience” covers an enormous range of ethnicities, socioeconomic statuses, and generations in the U.S. Therefore, if you’re writing a story that purports to relate “the Asian American experience,” first of all, get more specific. Which cultures and languages have the character been exposed to? What’s their socioeconomic status? From there, it helps if you have more than one Asian American writer in the room who can contribute their unique perspectives, and have the experiences that allow them to relate to the character they’re writing. You’ll find that having more than one voice per experience helps you hit closer to the truth. Human experiences are complicated, and having multiple viewpoints uncovers those nuances.

Step #4: Cultivate openness, honesty, and trust

The most effective stories touch upon relatable truth. To get at these truths, your writers must be willing to bare their souls and bring their lived-in experiences to the table, even if they’re not pretty or heartwarming. Getting your writers to this vulnerable position requires you, the showrunner, to cultivate openness, honesty, and trust, whether that’s through enlisting your close friends, as with Existential Crisis Club, or taking the leap and sharing your own painful stories first, as with Drama High. Whatever you choose to do, your writers must feel safe to share their stories, and it’s your job to get them there.

Step #5: Listen actively when writers share stories

When writers share their experiences, show you value your writers’ contributions by listening actively when they share their stories. This can be difficult to convey if you’re holding your writers’ room virtually like I am due to the COVID-19 pandemic. However, during the video calls, I ask my writers to note down their ideas in a shared Google Doc after speaking, so I can stay focused on the writer when they’re telling their stories. Oftentimes, I ask clarifying questions or elaborate on how their stories relate back to the characters to show I’m working their ideas into the script. These little gestures illustrate that you hold your writers’ time and efforts in high esteem, which makes them more comfortable with sharing further.

Step #6: Conduct yourself with empathy

Not every story is an encouraging one, and some may even be tough to relate to. Thus, it’s crucial to set an example for the rest of the room and conduct yourself with empathy. Be sensitive when writers tell stories that may be painful or triggering, and warn others if you’re about to discuss one. Put aside any entitlement you may feel towards knowing someone’s story because if that writer is uncomfortable with talking about a part of their life, then you must let it go. Pressuring your writers to share won’t raise the morale of your room, and will only show that you don’t care to respect boundaries.

Step #7: Aim for truth, but do so with dignity

A writer's personal bias often affects how a character's story is told through editorializing. Editorializing is when the writer introduces their own personal opinion on a subject when writing about that subject, often through the use of words with specific connotations or the way they speak about the subject.

When writing a character whose lifestyle or decisions may not match yours, do so in a way that shows empathy for the character and affords them dignity. Even if the experience has some elements that you consider “seedy” or causes you to place judgment on it for whatever reason, attempt to discuss the experience evenhandedly. After all, if you can’t even be respectful to your character, then why are you trying to tell their story? There must be a writer out there that can do the character justice, so give the story to them instead.

Now that we’re entering 2021, it’s about time writers learned how to incorporate experiences that aren’t their own into their writing. With these steps in mind, showrunners will be able to staff and run writers’ rooms that are one step closer to delivering characters that let audiences experience new American stories that showcase the intricacies of our diverse society.

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 to Make a Feature Documentary Movie Budget

February 8, 2021

By Justin Joseph Hall

Producer Mahomi Ejiri and Justin Joseph Hall filming in Ebina, Japan for Frames of Reference. Photo by Yoshitsugu Kosaka. — Producer Mahomi Ejiri and Justin Joseph Hall filming in Ebina, Japan for *Frames of Reference. Photo by Yoshitsugu Kosaka.*

You have your idea for a documentary and need to create a budget for a grant, potential partner, and just to have a good plan of attack. So, what does a professional feature documentary budget look like? What is the range a feature documentary should cost? These common questions are sadly hard to find the answers to.

Even though I don’t consider myself a producer, I have had to stand in the producer’s role creating budgets many times. From asking fellow filmmakers with more experience to teach me along the way, I’ve gathered that information into one place for others to learn what I have over the years.

First off, you’ll need a spreadsheet budget template. Below is our company’s documentary budget template. The numbers in the template are my budget for a feature-length documentary I directed that is currently in post-production, Frames of Reference. The rates I have are not industry-standard, but rather rates for a particular project. Rates vary widely depending on region, whether it’s a union job or not, and on each individual person you’re hiring.

You can take the link below and duplicate it (File→Make Copy) and save it as your own to modify for your needs. It also is what you can follow along to understand what I’m talking about in the below paragraphs.

FOURWIND | Documentary Budget Template

Along the bottom of the google sheet are three tabs. While working in this document, 99% of the time you’ll just be changing information in the first tab. All of the first tab (Details) correlates to the second tab (Topsheet). The "Topsheet" is a quick summary of the entire budget at a glance. In the second tab you’ll find the typical industry breakdown on top, and a breakdown at the bottom in the section, "BREAKDOWN BY FILMMAKING PROCESS." That's not in most budgets, but I personally found it to be a helpful estimate for me to understand cost differences between Production and Post-Production.

The third tab (Fourwind Films_OldFormat) is the way I create budgets for smaller projects. These budgets are fine if you’re not applying for grants from third parties outside the film industry. For the purpose of this article, we will ignore the third tab.

Starting the “Details” Tab

In the “Details” tab there are "Above-the-line" and "Below-the-line" costs. Above-the-line costs are what the film will cost whether or not the project is completed. These are starting costs and are usually the amount you should raise before starting to officially work on the project. The below-the-line costs are what things cost as you complete the project.

Let’s start at the top. There is an estimate of how long I plan to work on each step of the project. The steps I plan for are Research, Prep, Shoot, Wrap, and Post.

Research

Estimate how long you may need to research or nail down what you need to know before you can make effective decisions on casting and locations.

Prep

Prep is how much time is needed for pre-production before the shoot. Are you shooting internationally and need to gather local crew, get visas for parties traveling, and possibly vaccinations? Think it through. When doing your first budget it’s wise to include everything you can think of and then cut the budget down after a first estimate. I’ve heard this advice from many line producers.

Shoot

How long will you need to shoot? How much travel time between locations? As a general estimate, I like to assume for an interview-based documentary that I’ll need a minimum of 115 hours of footage. However, if your documentary is a vérité documentary, I’d say you need about 50% more footage as there is less ability to direct and produce on vérité documentaries. In that case, I’d aim for at least 180 hours of footage.

Producer Yoshitsugu Kosaka during production for Frames of Reference in Ebina, Japan. — Producer Yoshitsugu Kosaka during production for *Frames of Reference* in Ebina, Japan.

Wrap

Wrap for a documentary really depends on how much paperwork and rental returns you expect to have when you get back. For documentaries usually, this is not a lot of time as crews and personnel tend to be smaller than narrative sets.

Post-Production

For post-production, I have been told that four months to edit a feature documentary is pretty standard. The more produced the script is and the more support your editor has the more feasible this would be. If you have four months to edit a film, I assume the director or producer is highly involved in the editing process and, at the very least, has an outline of what they would like the film to look like. I also would assume there’s at least one highly capable Assistant Editor if not two, as well as some sort of Production or Post-Production Assistant. To hit that four-month mark you may even need more than one editor.

Now, scheduling changes again when editing vérité footage. Vérité footage takes twice as long to assess as interview footage. Constructing the narrative tends to be much more complex. Because of this, I’d suggest a minimum of one year of editing for a vérité feature-length documentary. Again this is assuming a great Assistant Editor and/or Associate Editor is on board to fully aid the editor.

Great, now you have a sense of how much time the project will take. You can use this information for the “#” and “UNIT” columns.

Finishing the “Details” Tab

The rest of the process is reading through each row and deciding which ones you want and need to create a budget for. Begin with above-the-line costs. Who are the personnel you will need to get the project made? The main director and producer as well as any executive producer costs should be included here.

As a starting basis for a feature, I put a year’s salary for the director. This way, if the project takes 1-2 years, the director is covered to concentrate on the project long enough to make sure it is always moving forward. If you’re creating something shorter, or there’s much more support than normal, you may want to adjust this. But I start there as it’s important to have someone to keep the project on course to ensure a timely finish.

Things that really rack up production costs are executive producer costs and the number of crew you bring to set. This all depends on your style of filmmaking and changes from project to project. If you have questions about specific line items please write to me at my email address below.

Producer Ricky Rosario during production for Frames of Reference in Barranquilla, Colombia. — Producer Ricky Rosario during production for *Frames of Reference* in Barranquilla, Colombia.

As for finishing in post-production, this is something many people do not have much experience in budgeting. Luckily for you, I run post-production for Fourwind Films and we estimate these costs for any project that comes in our door. This is the basis for how I estimate how long each of these post-production steps may cost:

The edit will last 4-6 months per 120 hours footage shot (again recall vérité footage takes almost double the time to edit and assess).

Coloring takes 1-3 days per 10-20 minutes of finished video. Keep in mind, the longer you spend on color the more detail your colorist can pull out of the image.

Sound Design is optional, especially in documentary film. Whether you do this really depends on the director and style of the film. I’d suggest budgeting for this even if you think you won’t need it. In general, I’d suggest a sliding scale of 1 day (cheap) to 1 week (expensive and stylized) per 30 minutes of finished video.

Dialogue Editing is normally 1 week per 30 minutes of finished video.

Sound Mixing you can estimate at 3 days per 30 minutes of finished video.

Promotion and marketing are often the most forgotten part of the budget. Almost wherever you look, it is suggested to tack on 1/3 to 1/2 of the total budget to make the film just for marketing. If you don’t tell people about the movie you made, no one will know it exists and no one will want to watch it. Promotion is part of filmmaking if you’re making a film for an external audience.

That’s about the quickest summary of creating a documentary budget I can possibly put forward. Any additional questions, please write to me at justin.joseph.hall@fourwindfilms.com.

Find out more about Justin Joseph Hall and his work at the Fourwind Films website. Or, follow him as host of the podcast Feature & a short or on LinkedIn.

10 Reasons Why You Need a Fantastic First Assistant Director

February 1, 2021

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.

Secrets of Successful Fundraising for Filmmaking

January 25, 2021

By Jamie Monahan

It can be difficult to feel inspired to do anything during a pandemic when filmmaking and festivals are being delayed or canceled, artists are unemployed, and we are constantly told what we can’t do. That’s why I want to share some tips that you can do right now as a filmmaker to move your project forward during quarantine. A successful fundraising campaign takes a minimum of one to three months’ pre-planning. During this downtime, you can pre-write all of your campaign emails, create a campaign action calendar, and automate your social media posts. By doing all of this preparation, you’ll be ready to go when it’s time to crowdfund!

1. Audience Building:

Two of the biggest questions you need to answer as a creator are: “Who is your audience?” and “Where do they watch movies?” Now more than ever your audience is so important. Build your show’s Instagram account with behind-the-scenes photos, interviews with actors and crew, red carpet photos, your project poster, concept art, etc. Start creating super fans who are loyal not only because they love you the creator, but also because you took them on the creative journey. Superfans take pride in the fact they are the OG fans! Start a newsletter for your film and send monthly updates. Mailchimp is my go-to platform for newsletters. There are plenty of platforms that allow you to schedule social media posts ahead of time. Free options include Tweetdeck for Twitter, the Facebook scheduling tool on Facebook, and Later.com for Instagram. There are also tools like Hootsuite that cost money but allow you to pre-schedule most if not all of your social media platforms in one place.

2. Charitable Donations:

Any money you do not have to pay back is free money! I highly suggest getting fiscal sponsorship for feature films. Fiscal sponsorship allows people to make large tax-deductible donations to your film. It involves a fee-based contract between a project and an established non-profit. It’s important to remember that charitable donations can only be used for the creation of the film not for distribution or advertising. The Film Collaborative, and Fractured Atlas are two great fiscal sponsorships you can apply to.

3. Grants:

There are endless film grants you can apply to. It may feel overwhelming but applying for grants is another opportunity for free money. Candid has 150,000+ funders and 16+ million grants. Women Make Movies has a resource page dedicated to grants and funders with over 60+ organizations to apply to. Most filmmakers do not apply to grant which I think is a mistake. If grant writing is not your specialty, hire someone. It may be worth it even if you just receive one! The Film Fund gives out grants monthly and all you need to apply is a strong one-sentence log-line and a small application fee.

4. Crowdfunding:

Crowdfunding = Free Money! Always have a deadline when crowdfunding. Ideally, 30 days to create a sense of urgency. My favorite crowdfunding platforms are Kickstarter and Seed & Spark. Anytime someone donates, share that information on social media. Sharing will remind people who haven’t donated yet to donate to your campaign. Make sure to personally reach out to friends and family via a hand-written letter, email, or phone call. A genuine connection will always get better results than relying on social media. A successful and professional-looking crowdfunding campaign makes you more attractive to investors.

5. Private Investors:

Be honest with investors! Explain the risk. Only 20% of movies make their money back. If an investor most likely won’t make their money back why would they invest? Some people invest because they believe in the story or message you’re trying to tell. Others will invest because they believe in you, the creator. Then some will invest because they love the arts, being a part of something, or the glamor of it all. Your job is to find out what your investors want and how you can give it to them. Is it credit in the film? Putting their business in the “Special Thanks” section of the credits? VIP passes to a screening?

I hope you find this information helpful and empowering. 2020 was a difficult year for many but I have been so inspired by the resilience of artists. We are essential and the world needs our stories now more than ever!

Follow Jamie Monahan on Instagram/Twitter/Facebook: @jmemonahan. If you’re interested in her upcoming classes, seminars, screenings, and more, sign up for her newsletter here.

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.

No, Really. White People, Watch More Movies About Dr. Martin Luther King Jr.

January 20, 2021

The Reverend Dr. Martin Luther King Jr. is one of the most quotable people in history. In the documentary King in the Wilderness, Harry Belafonte shares how he would pull notes from the trash that King, his friend, and confidante, would discard while writing speeches at Belafonte’s home. He did this because even King’s trash would undoubtedly contain profound statements. Agonizingly, taking MLK quotes out of context is common practice, and has been for decades.

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

January 11, 2021

By Cat Tassini

“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.

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.

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.

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.

WOC Filmmakers: Resources for Making Connections

December 28, 2020

By Cindy Chu

“How are you going to eat?” my mom asked me in Taiwanese. If you’re a woman of color or first or second-generation American, I’m sure your parents have asked you that same question. As a child of working-class Taiwanese/Chinese immigrants and a first-generation American from Queens, NY, filmmaking is the last career my parents define as being “successful”. When I told my mother I wanted to be an actress, she was scared for me. We didn’t know anyone in the industry, and every movie and television show she watched was a sea of white people with barely any Asian American faces.

The number of speaking roles for non-White actors in major Hollywood films reached a record high in 2019, but on-screen representation for Latinos and women of color still lags far behind other groups, according to a new study https://t.co/zzlxNdrhPs
— CNN (@CNN) September 11, 2020

Fast forward years later, I’m now a screenwriter/filmmaker. Despite starting my career without any industry connections, I joined the following organizations that help underrepresented filmmakers build connections and find collaborators. Through these communities, I found collaborators for my award-winning projects. In an industry that relies heavily on “who you know” and has a long history of racism, it’s imperative for BIPOC creatives to strengthen their network by joining organizations and communities that value fair access.

NYC WOMEN FILMMAKERS - I can’t say enough how much this organization has saved my ass! From tax advice to hiring crew, it’s helped me find the resources I needed. It’s also where I met Piper Werle of Fourwind Films to write this. There are monthly events that cater to different topics of the industry like editing for film/TV, legal advice from a law clinic, and more. Women, trans women, and non-binary identifying creators who are based in NYC or travel to the city frequently for work can join the Facebook group.

WOMEN OF COLOR UNITE - Their #StartWith8Hollywood mentorship program matches industry mentors with WOC, and it’s a signup process without application fees or numerous essays. If you’ve ever applied to creative fellowships, contests, etc. this sounds like a miracle! They have a Facebook group for both allies and WOC, and a private network for only WOC to share opportunities and network.

GHETTO FILM SCHOOL - Despite its name, it’s not a literal school. They educate, develop, and celebrate the next generation of great American storytellers, and support early career professionals from ages 14-34. I’ve even collaborated with a talented colorist through the organization. You can sign up for their newsletter and join their Facebook group to hear about job opportunities and events.

Last, but not least, HUE YOU KNOW...FOR BIPOC IN MEDIA - It’s a space to ask entertainment-related questions, seek advice, and view or make posts for employment seeking and opportunities. Their members are artists, lawyers, CEO’s, and anyone who works in media. They cover a wide spectrum of careers from Public Relations to Film/TV (scripted or unscripted) and more. BIPOC media folks can join their Facebook group.

As much as the entertainment industry is somewhat improving, like with the Oscars adding a diversity requirement for eligibility, the opportunities for women of color are still not enough. For Asian Americans, the old Hollywood system still finds ways to keep us separate. Take the 2021 Golden Globe nomination for Minari, a Korean-American story that is written, directed, produced, and stars Americans, yet is still considered in the Foreign Language Film category.

I have not seen a more American film than #Minari this year. It's a story about an immigrant family, IN America, pursuing the American dream. We really need to change these antiquated rules that characterizes American as only English-speaking. https://t.co/1NZbkJFE9v
— Lulu Wang (@thumbelulu) December 23, 2020

The USC Annenberg Inclusive Initiative (2020) notes, “ Looking across all racial/ethnic groups measured, the number of films that erased girls/women from all speaking or named roles across the 100 top films of 2019 was as follows: Hispanic/Latinas (71 movies), Black (33 movies), American Indian/Alaskan Native (97 movies), Native Hawaiian/Pacific Islander (99 movies), Asian (55 movies), Middle Eastern/North African (92 movies), Multiracial/Multiethnic (45 movies). In contrast, White girls and women were only erased from 7 movies." This is largely due to the origins and long history of Hollywood being dominated by white men. This is changing as more women of color, and BIPOC in general, are taking decision-making positions as executives, directors, showrunners, producers, and more.

While @IssaRae could make history at this year's #Emmys, her main priority is making way for diversity at her production companies and beyond: "My longevity will be opening the door for others"
— The Hollywood Reporter (@THR) August 19, 2020

While it can feel daunting starting out in the industry, know that you’re not alone. This is only a partial list of organizations to join, you can also look for specific groups related to your ethnicity or career path. The community you create today are the ones you’ll be rising up with in the future. I hope this blog helps you find your community.

Additional Resources:

AIM (Advocates for Inclusion in Media): https://www.aimcoalition.org/
Asian Creative Network: https://asiancreativenetwork.org/
AZNs in Entertainment: https://www.facebook.com/groups/1467650406588819/
The Black Women Film Network: http://www.blackwomenfilm.org//
Black Public Media: https://blackpublicmedia.org
Black TV & Film Collective: https://www.blacktvfilmcollective.org
Brown Girls Doc Mafia: https://www.browngirlsdocmafia.com/
The Divas With Disabilities Project: https://www.divaswithdisabilities.org/learn-about-dwd.html
Free the Work: https://freethework.com/
In the Cut: https://inthecutla.org/
Inclusive Film Crews - Diversify the Voices on Your Crew: https://www.facebook.com/groups/inclusivecrews/
UNPOPCULTR Creators Network: https://www.facebook.com/groups/unpopcultr/

Follow Cindy Chu on Instagram @itscindychu, and on Twitter @cindychuwrites.

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.

Advice for Filming a Documentary in Cuba as a Foreigner

December 21, 2020

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. — 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.

How to Get Professional Level Sound From a Budget Microphone

November 25, 2020

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.

6 GOTV Videos That Actually Work

October 28, 2020

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.

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.

Sound Mixing 101: Compressors and Limiters

September 23, 2020

By Justin Joseph Hall

Compressors and Limiters are audio effects that control volume or amplitude of sound. They are used to create equilibrium in what you hear. They are often used in the mixing and mastering stages of music. They are also used when mixing dialogue for film, video, and radio.

Let’s start with the compressor. The compressor is created to lessen the ratio of dynamic range in a recorded sound. For example, if you are recording guitar input and someone accidentally bumps the pickup (which is like the microphone for a guitar that “picks up” the sounds of the strings to amplify them), there will be a spike in the waveform that is much louder than the rest of the recording. The compressor dampens a spike in volume so it doesn’t stick out as much. It diminishes the amplitude of the sound wave by “compressing” any sound that registers above a certain threshold at the compression ratio you set it at.

When using a compressor there are a few key terms.

The threshold refers to the amplitude that the compressor kicks in. So if you set the threshold at -16dBs then anything that goes over -16 decibels will be affected by the compressor.

The ratio refers to the amount of compression. If you have a 3:1 ratio in your compressor then the sound above the threshold will become ⅓ as loud as the original.

The attack or attack time is how fast the compressor will kick in after the amplitude gets over the threshold. Often too fast of an attack time may compress small peaks that barely get over the threshold and can sound odd unless it’s sustained for at least a short period of time. The length it takes to turn on the attack time is usually measured in milliseconds. This is an adjustment you can alter in order to make sure the compressor isn’t turned off and on too often which can be noticeably irritating.

The release or release time is the delay that the compressor should shut off if the amplitude goes under the threshold. This is to prevent the compressor from turning off and on if the amplitude wavers on the threshold and sometimes drops below it. The release and attack times are adjusted to make the transition into the effect smoother and less noticeable. Often the presets work well from the factory, but play around with the setting to see if you can make it sound smoother, especially if the effect is sounding choppy.

The knee is a gradual curve in how the compressor affects the amplitude. So if your compressor is set at -16 decibels at a 3:1 ratio, the knee may prevent the compressor from compressing the sound to 3:1 ratio directly at -16dBs. Instead, it will be applied on a gradient that is adjusted by the knee. It makes the compressor effect more gradual and less noticeable.

Compressors limit the range of the amplitude of a sound. This is key for making recorded sound easier to listen to on speakers. There are as many different types of speakers as there are flavors of ice cream. Compressing sound to a smaller range makes it so listeners won’t hurt their ears if they turn up the volume during a quiet moment in a film that’s followed by a loud explosion scene. Compressing the sound should make it so that people don’t have to turn the volume up or down at all.

Often, the more a sound is compressed the more pleasant the listening experience. Many podcasts, audiobooks, and radio shows use compressors on the vocals so that voices sound similar throughout the program and listeners don’t have to fiddle with their knobs.

In music, pop songs are highly compressed. This is pleasant and makes all songs have a similar dynamic range. Some of the least compressed music is classically recorded music where the range of instruments will not be heard without a large dynamic range. In a recording of an orchestral concert, you want to hear the comparison of the piccolo solo, strings section, and the full orchestra playing without sacrificing the uniqueness of each sound.

Limiters

Compressors are often used in conjunction with Limiters. The two audio effects work very well in tandem. As the Compressor makes the dynamic range smaller, it softens the loudest sounds. This is because audio begins from no sound and increases like a bar graph in amplitude. If we have a sound that is -10 decibels, the peak of that soundwave is at -10 decibels. When we compress it, the mountain moves to a lower peak.

A Limiter is often applied after a compressor. This is because once you have the desired ratio of your sound, all peaks are compressed to a certain height of amplitude. A limiter brings those peaks higher or lower equally across your sound’s amplitude without going over.

The Limiter earned its name because even though it may increase the amplitude, it limits the amplitude to a Limiter’s threshold. Like the Compressor’s threshold, a Limiter’s threshold is a cutoff point that says no sound peaks will go over this amount. This is to prevent peaking, which is when a recorded sound is too loud for a mic and distorts. For digital audio this is 0 decibels. For analog audio it can vary and depends on what you’re working with, but it is often seen from +6 to +12 decibels.

Limiters also have release and attack inputs which work the same as a compressor’s. They are measured in milliseconds and are when the Limiter kicks in (attack) and when the effect drops out (release).

Why use a Limiter?

So that the sound you are creating is loud enough to hear after a compressor is applied. It would be very annoying for someone to compress a song to be very quiet and then listen to a song that is really loud afterward because you’d have to keep adjusting the volume.

For example, if you listen to a classical song that barely uses a compressor and has a huge dynamic range from -60 decibels all the way to -3 decibels, and follow it with a pop song, you want the loudest part of each song to be at the exact same peak. This is so if you set the music at a house party at a certain volume, that volume is never exceeded and you don’t suddenly scare your neighbors with O Fortuna blasting right after listening to a compressed pop song. Most music players have a setting that levels the peaks of songs so you may already be familiar with this automated process in those kinds of digital music players.

0287 Rock n' Roll Matthew Solarski Interpol.JPG

Pop songs actually use Limiters a lot. This trend of mixing music slowly became popular with the rise of Rock N’ Roll wanting loud music, and the Metal of the 1970’s pushing that trend even more. Sound mixers kept making mixes louder by compressing them to a small dynamic range and then raising the peaks to the maximum volume. This puts songs near the top of the possible amplitude without going over 0 decibels and distorting. Eventually, the radio ads also started competing with this music to get the listener's attention and radio ads started being mixed even louder than the music. This became known as the “Loudness Wars,” which really peaked (pardon the pun) in the 1990s and 2000s. You can really hear the dynamic range lessening, especially in pop music during that time.

Compression and limiting are powerful tools that help you create the listening experience you want whether it’s for a song, radio show, or even a movie mix. Compressors and Limiters are used in virtually every professional sound mix of any sort. Learn the ins and outs and what sounds good to your own ear, practice a lot, and you’ll have mastered one of the basics of sound mixing.

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Stop Sabotaging Your Creativity! (Part 2)

September 23, 2020

By Totemworlds

Whether you’re a writer, filmmaker, painter or music composer, the lessons in this article will help you become a better artist.

In the previous article we talked about creating art in a playful manner, keeping a regular creative habit, and seeing the value in being bored. Now we’re expanding into other mindsets that hold us back as artists, and prevent us from creating our best work.

Where you create is important

To create our best work, then we must create in a space that’s not only comfortable, but inviting. No matter how humble or impractical your space may be, it should feel like a sanctuary, a place that allows you to create with ease.

I want you to think about your creative space. Bring into your mind’s eye the place where you make your art. Is it indoors or outdoors? Is there a desk in front of you, or is it just your instrument? Do feelings of joy, peace, or excitement come up when you think of this space? How about your instrument? What kind of feelings arise when you think about it?

If feelings of anxiety or fear come up instead, something isn’t right. It’s normal to feel tension or resistance when you first sit down to create. But if these negative feelings linger, the space where you create may not be optimal. Try improving your space to make it more inviting: perhaps it’s a matter of making everything look neat and tidy, adding a few decorations or artifacts that inspire you; or perhaps the change must happen inward, by consciously working to improve our relationship with this space.

Above is where artist Xnuht records his music. He shares that even though his space is humble, it is also “full of magic.” And his work surely reflects that.

No matter where your working space happens to be, it is special. So always try to summon feelings of gratitude when you start working:

“I am grateful for having this space to create. This is an artist’s sanctuary.”

Say or think these words as you prepare yourself for a creative session. If you have an instrument then say your grateful for it as well. Practicing gratitude is a powerful technique that cleanses any form of negativity. This technique is especially helpful if you work at home.

An inviting working space will allow you to relax and…

Surrender to the process

Having an inviting working space is important, but so is our mental state as we create. In the previous article, I wrote about how we sabotage our creativity by focusing on the end product rather than the process. It’s good to strive for perfection so long as we don’t lose sight of what’s truly important.

Think about your latest work, and how it came to be…

When inspiration first struck you, it probably came as a set of powerful visions and/or feelings: abstract forms which you then gave shape to. Everyone’s experience is unique, but regardless of how it felt, this experience motivated you to put in the work.

And though the end product probably ended up looking (or sounding) different from its initial conception, the link to that experience remained. And what’s so great about your work is not the object itself, but the experience that propelled you to create it in the first place. Does that mean quality is not important? Of course it is, but artists tend to focus too much on the tiny details rather than the big picture (and the big picture is what your audience will first see).

The truth is, your audience will focus mostly on their own experience; they won’t be looking for the tiny mistakes you made, but their impression of your work as a whole. Therefore, you shouldn’t obsess over perfection but over that magical experience you felt when inspiration first struck you. Surrender to it. Let the process take center stage, let it change you as a person, and let the result of this transformation seep into your work…your audience will appreciate it.Your technique will improve in time, so don’t let it stop you from expressing yourself and those magical experiences that move and transform you.

“At its essence, art is an alchemical process. Alchemy is a process of transformation.” Julia Cameron, author of The Artist’s Way.

End of Part 2

You can find the first part of this article HERE. Thanks for reading and be on the lookout for the third and final part of this series.

Follow Totemworld’s work on Youtube and Instagram.

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If there are other questions you want 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! Send us your work for review or feedback.

Stop Sabotaging Your Creativity! (Part 1)

September 23, 2020

By Totemworlds

Feeling blocked, anxious, exhausted, lazy are all symptoms of a constricted creative flow. And like a clogged pipe that needs maintenance, we need to take care of our creative flow if we wish to create great art.

Perhaps you have amazing ideas already, but lack the support needed to realize them. Or maybe you have the time and resources, but you don’t feel inspired or procrastinate…a lot. Or maybe your process of making art stops being as enjoyable as before, and your doubts become numerous. If you find yourself in any of these situations, you may need to change the way you make art. Whether you’re a writer, filmmaker, painter, or composer, the lessons in this article will help you restore motivation and trust in yourself.

Get in the flow

Creativity is a primordial force that flows through all things. The flow is found everywhere in nature, in the movement of the planets, and inside each of us. I’m not trying to channel Master Yoda when I say that we are all one with the flow, but it’s true: to create is your birthright. So why do we often feel creatively blocked, uninspired, and/or anxious?

Remember the clogged pipe analogy? The truth is that we love to constrict the flow of our creativity. By focusing on the end product rather than the process, we often overflow our mental landscapes with insecurities and expectations.

Being out of the flow means you have trouble starting projects and not finishing them. Being out of the flow as a professional, where the stakes are even higher: it’s petrifying. Luckily there’s a solution: learning to create in an effortless, and playful manner.

Actually, it’s not learning but remembering how to create in said way. Back when we were children, though our technique was poor, our attitude was spot on. We treated work as play, and we made art in a pressure-free environment and in a peaceful state of mind. I’m asking you to choose that attitude as your default mode of working.

Start practicing by playing (and having fun) with your instrument or equipment in a pressure-free environment, let all expectations and self-criticism drop for a moment and get back into the flow. As Kenny Werner writes in his book, Effortless Mastery:

“Full-blown artistic creativity takes place when a trained and skilled grown-up is able to tap the source of clear, unbroken play-consciousness of the small child within. This consciousness has a particular feel and flow we instinctively recognize. It is “like tossing a ball on swift-flowing water: moment-to-moment nonstop flow.”

Practice bringing this playful and effortless attitude into your work and you’ll never feel uninspired again.

Keep up the momentum

To keep the juices flowing, practice doing something creative regularly, preferably daily. Don’t let this activity consume much of your time: it should feel spontaneous, simple, and quick. Anything goes as long as it requires you to be creative: keep a miniature journal, take a minute to snap a photo, find any object and interact with it as if it were the first time, etc.

The aim here is to bring more spontaneity into your life, which forces you to be more creative throughout your day. Doing them regularly helps you reinforce your playful attitude and build the momentum you need to take on larger projects.

See the value in being bored

To foster my creativity, I have tried psychedelics, long hikes, deep meditation, but to my surprise what worked best was doing nothing at all. Boredom is so underrated nowadays, but it’s been proven to spark, and I mean really spark, creativity and productivity. Don’t be confused. Being bored is not the same as relaxing, rather it’s intentionally removing all external input until your brain starts finding it uncomfortable. Don’t worry, it’s healthy for your brain!

Spend 10 minutes doing nothing (no phone, no music, no journaling, no meditation, do nothing at all) and expect some ideas to appear. Dare to do it for a whole day (a dopamine fast) and you’ll be even more surprised. The lack of input will force your brain to explode with a rush of ideas and solutions. These ideas and solutions were hidden before because you were too distracted, and good ole’ boredom brought them into the light.

Get bored. Stare at your floor! (Photo by jaqui from FreeImages.) — Get bored. Stare at your floor! (Photo by jaqui from FreeImages.)

So try giving your mind a break from all external input whenever you get the chance: be bored during your daily commute, while you wait for the doctor’s appointment, while you wait for your food to arrive at a restaurant. Fight the itch to become distracted, let your mind wander, and you’ll be rewarded with ideas!

End of Part I

The next time you feel blocked or anxious, get back into the flow by surrendering your expectations, keep a regular creative habit to build momentum for large projects, and don’t forget to see value in boredom.

Be on the look for Part 2 :).

Follow Totemworld’s work on Youtube and Facebook.

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I’m a Film Composer, and I Want Every Emerging Director to Read This

September 17, 2020

By Totemworlds

Every serious filmmaker knows that in movies, what we hear is just as important as what we see. Without music, our favorite films would lose their charm and emotional weight…even our characters would lose a bit of their essence. Thankfully, film composers exist, even though they’re always hiding in their studios, and their job is to unravel all feelings in your film, documentary, you name it!

As a filmmaker, you need to find a film composer who won’t just fill in the silence, but actually support your story in a meaningful way. I have working experience as a film composer and I wrote this short guide for filmmakers and enthusiasts with key tips on how to conceptualize and articulate musical ideas with their composers. Clear and effective communication between director and composer will ensure your film is everything you want it to be, so let’s get started!

Choosing the right composer

All musicians have unique backgrounds, it’s what defines their style and how they sound. Composers are no different, so keep your options open and take your time to listen to their previous work. Find a match for the sound you think would be best for your film. What style of music would be best? Does your budget allow for an orchestral sound, a small ensemble, or piano only? If you’re on a budget, composers can create what are called Orchestral Mock-ups. They’re a significantly cheaper alternative to recording a real orchestra while still sounding convincing. But does your film need music that will stand out or play more of a supportive role? Find a composer who will be versatile enough to do both.

Communicating With Your Composer

Spotting happens when a composer and/or a director decide upon where to (and not to) put music in the film. You’ll probably want to share your ideas right away, but I highly recommend you let the composer speak first. Their experience in the area and their experience in seeing your film for the first time could lead them to bring new ideas to the table. But if they ask for temp tracks then definitely provide them.

Temp tracks are songs that directors use temporarily on their film to give composers an idea of how they want the music to sound. Most composers love them, but some don’t. Just ask.

Don’t use musical terms to describe what you want

A composer’s job is to translate emotional terms into music, so don’t try to throw in musical terms at them, instead, speak to them in emotional terms. Talk in terms of intensity, and your composer will modify the instrumentation, mixing, and dynamics to match what you want. Talk in terms of movement, and your composer can use musical techniques to keep the momentum going, or make space for quiet time. You should also be clear if you want the music to sound close or play more of a supportive role.

Why (and when) to add a musical cue

Consider the following reasons to add music at any given moment of your film:

As a narrative tool: take music into consideration right from the start, as you write the script, this opens up new and exciting possibilities. Some of the most memorable moments in cinema rely on music to work. Some examples include a 2-note motif which foreshadows the shark’s arrival in Jaws; an unmistakable tune which plays in Kill Bill every time the protagonist sees her enemies; and who can forget the string players and their last repertoire near the end of Titanic, filling our hearts with empathy towards everyone on that sinking ship.
A motif is a recurring musical phrase.

Extrait de Titanic - James Cameron

To set the mood: music is just as important as color-grading and lighting for setting specific moods. And just like a colorist or lighting expert, a film composer will use every bit of information you give them to craft the right sound for a scene. Be clear about the mood you want to convey and include all the little details that make your scene unique. Music is so versatile that composers have a HUGE array of musical devices to work with, so having a pool of information to derive ideas from would help them focus their creativity.

Here’s is a very entertaining video showing the power of music over film.

To accompany our characters: in fiction, it is common practice for composers to assign musical ideas to any character, this is called a leitmotif; think of Darth Vader’s iconic theme in Star Wars and how menacing it makes him appear. It works for non-fiction too. A news anchor, for example, is greatly benefited from the show’s epic and suspenseful opening song that legitimizes not just the show but also its host.
To simulate the passing of time: music can be used to keep the momentum going, making sure there are no stagnant moments in your film. Any scene can be made suspenseful using music alone, and more excitement is always welcome. You can also use music as a way to transition to a new scene.

In conclusion

When incorporating a composer give them space to share their ideas, but be clear about how you want the audience to experience specific characters and moments. Work with the composer to figure out how best to communicate what you want, whether that’s by sharing examples of other films or music, details about your story and characters, or describing a feeling.

Follow Totemworld’s work on Youtube and Facebook.

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What is the difference between Reverb and Echo effects?

September 9, 2020

By Justin Joseph Hall

Behind the scenes of “Abuela’s Luck” by Ricky Rosario. Photo by Daria Huxley.

Echo and reverb are almost the same audio effect except for one variance, and that’s time. Reverb and echo are reflections of sound in a space. However, echo is the more common word and we know it as hearing a reflection of sound return to one’s ear quieter and later than what was said. Famously on television people shout into a canyon and hear what was said shortly after in fading repeats equally distant apart in time.

Reverb is the same concept as an echo but with a smaller reflection time that often comes back within a second and conflates with the sound that hasn’t finished yet. For example, If I were to say, “I would like to hear my echo,” and applied an echo effect through some software, I might say the entire sentence and then hear the entire sentence back. However, if I said the same thing and applied a reverb effect, you could start hearing the effect before you get to the second word of the sentence. This replicates what it sounds like to hear reflections of sounds from rooms with hard walls.

In some cases in real life, you may hear reverb and echo when short sound reflections (reverb) and longer sound reflections (echo) hit your ear simultaneously. For instance, when you’re in a racquetball court, you are likely to hear the reflection from a nearby wall quickly, but the far wall may take a bit longer to reach your ear. This kind of room creates a fun interplay of reflections. Many rock songs from the 1980s famously use these kinds of combinations to create a feeling of epic vastness. A great example is Phil Collins’ In The Air Tonight when the drums kick in.

Reverb and echo are not always necessary in film and music, but one should always consider what kind of space you seem to be in when applying these effects. Longer echo or reverb sound like bigger spaces or great halls or canyons, while shorter, tighter echo or reverb could sound like a cramped space, like a small apartment bathroom.

The sound mixer would need to take these very different spaces into consideration when applying echo and/or reverb. Gif courtesy of HBO.

Creating a space with these 2 effects is one way of making different recordings sound unified. It’s often part of any type of mixing in film or music. For instance, if you’re recording music and the drums, amp, and vocals are all recorded at different times with different mics and mic placement, adding a room sound via reverb makes it sound like they may have all been playing at the same time. It is often used during the mastering process to unify final sounds.

When filming a movie, you may record on location, and then in post-production find your project needs Automated Dialogue Replace (ADR). ADR is a re-recording of lines in the studio to replace the dialogue taken on set. By creating space with reverb and echo you can help unify the different mic’ings within a scene such as location sound mixed with ADR. This is especially important if the two types of recordings are near one another.

Justin Joseph Hall is a video director, editor, and post-producer who used to mix audio for film, music, podcasts, and mastered songs for Bootsy Collins and others. For any more info or questions about sound mixing and/or mastering, write to Fourwind Films at info@fourwindfilms.com. Also sign up for our newsletter and podcast, Feature & a short where Brian Trahan, our sound mixer, adds reverb.

5 Visual Design Trends To Learn

August 22, 2020

By Daria Huxley

1. Semi-transparent gradients

Gradients have been around for a while, but now they are making a comeback as colorful screens for full-sized websites and applications. Many designers use branded colors to put over a photo and lay out copy on top.

Jessica Hägg and Stink Studios for Spotify

2. Glitches

This is an interesting use of an effect that not so long ago used to be undesired. Now digital glitches and distortions are used in modern visual design to add an edge to an image, make it more unique and interesting.

3. Double exposure

This well-known visual technique taking its roots from films photography is reviving the old art. Now images are able to be manipulated digitally with ease, and double exposure effect can be created even on a smartphone with the help of a special app. Double exposures look great, but this captivating effect needs to be used wisely and sparingly to avoid cluttering of the subjects.

4. Typography as Real Life Elements

This is an interesting way to merge your copy into the image. It starts to really belong there and looks more organic. Requires some intense planning and creative direction as well as some extra Photoshop hours.

5. Illustrations Over Photos

This is one of my favorites. This one combines two separate art forms and if done wisely can create a magic feeling of an organic coexistence of multiple visuals together in one picture.

PS: We at Fourwind love visual design and would love to tell you more about our work and availability. Don’t hesitate to reach out at info@fourwindfilms.com and mention this article.

-Daria Huxley

Visual Designer & Photographer

Fourwind Films

Sound Design vs. Sound Mixing: A Beginning Filmmaker’s Guide

August 12, 2020

By Justin Joseph Hall

One of the first things they teach you in an Intro to Production class is that bad sound is the fastest way a professional filmmaker can spot an amateur-made video. If you’re new to filmmaking it’s important to know the difference between sound design and sound mixing. This is a first step to understanding how to create a good sound for your video.

Sound Design

Sound Design is the ambiance of the auditory space. Let’s do an exercise together to help us learn. Look around in the room you're in right now. What do you see? Say those things out loud. After that close your eyes for one minute. Listen to everything in the room. What do you hear? Say them out loud. Be specific. Do you hear a computer fan? Birds out the window, friends in the other room chatting? Is a train rolling by in the distance? Write down all of it.

A sound editor and foley artist create the feeling of the room. One way they do this is by recording each of the sounds you wrote down in the exercise we just did. Other common sound effects include footsteps, clothes rustling, or even the sound of a refrigerator, radiator, or crickets chirping at night.

When we get to sound mixing we want to have a recording for each individual sound so you can adjust the loudness of each sound separately in the sound mix, which we’ll talk about in more detail later.

Sound design is an amazing tool that many commercial entities and independent filmmakers don’t think about or utilize. In a commercial setting, you may think sound design is an unnecessary excess. However, a half a day’s work from a sound designer can bring up the production value of a video tenfold.

One specific place where it really helps out is in animation because purely graphic animations don’t come with audio like interviews or captured video do. Yet animation is common in commercial video products and changed completely when sound is added.

One example that is quick and easy to show are logo animations, like this one my company created for PerformLine. Watch it with sound, and then mute the video and watch again. The sound adds energy to the logo and branding.

We created this animation and background for PerformLine.

Sound design encompasses a wide array of sound effects. Sound Designers adjust their effects to fit the aesthetic and world of the film. For example, in David Lynch's Eraserhead, sounds like water running in a bathtub, or the clanking of an old heater, are more menacing and noticeable than they are in everyday life. Anyone who’s seen The Matrix may remember the whooshing noise accompanying Neo’s slow-motion bullet-dodging.

Famous scene from The Matrix (1999)

Both of these examples are louder than one would expect to hear in the real world (or see, in the case of The Matrix, but I digress), and that has to do with how the Sound Mixer worked with the sound design. So now that you are familiar with sound design, let’s learn about the next and final step in audio post-production: sound mixing.

Sound Mixing

A sound mix is the last step in finishing audio for a film. Simply put, the sound mixer adjusts how loud or quiet each individual sound is to maximize the impact of the message of the final video. The three main categories are dialogue, sound effects, and music. Also, it can be confusing, but Sound Mixers may also have the title Re-Recording Mixer.

In commercial videos, mixing interviews can make voices more pronounced, clear, and pleasant to listen to. Colloquially, this process is also called “sound sweetening.” This step is important for sound clarity as well as creating the ambiance for the film. For example, it is very annoying to hear a video where the dialogue of an interviewee or a central character in a scene is overpowered by loud music or background characters. Don’t let your audience’s focus be pulled away from a story by bad sound mixing.

It is also important to remember a sound mixer can only do so much. Some of the sound problems cannot be fixed after recording. If you’re recording an interview of a rock fan at a concert while the band is playing loudly it is often impossible to separate a person speaking from the loud background music. It’s important to keep in mind that not all problems can be solved in the sound mix. An accomplished Sound Mixer can adjust audio to improve it, but it’s important to record clear high-quality audio to obtain optimal results.

If you have any questions or would like more information go to our website www.fourwindfilms.com, or write to me directly at justin.joseph.hall@fourwindfilms.com.

Create Fantastical Shots for Film using Photoshop or Pixelmator

August 6, 2020

By Totemworlds

I’m Totemworlds, a DIY-filmmaker and composer. My latest short film features some of the most fantastical shots I have ever designed. Here’s how I transformed my dull (and at times problematic) footage into something special, and how you can use Photo-editing software to drastically improve your shots.

When you’re working with average computers, video editing and rendering can be a tedious process. As a DIY-filmmaker I’ve learned that working in Photo-editing software (Photoshop or Pixelmator, etc) allows me to edit fine details in my shots more efficiently. It’s also a more affordable option if you can’t afford a set designer, special effects, or the perfect location.

Here’s a before and after to show you what is possible:

After (Click Here) / Photo by Totemworlds

Method:

1 Plan your shots

This technique comes with its own set of limitations. First, your shot must be completely still. During shooting, no moving objects can cross the area you’ll be editing. Notice how in the shot above, the moving subject is not crossing any of the areas inside the rectangles?

Fortunately, with a well planned shot you can fool your audience into thinking your subject is in a fantastical setting, doing a Yoga pose your average Joe can’t handle. Plan your shots accordingly to create convincing transformations, and use your creativity to turn these limitations into advantages.

2 Import a single frame of your shot into your Photo-editing software and Edit.

To make this shot look convincing, I had to first remove the ugly background. The goal was to make the viewer believe this was shot at a laboratory in the middle of the jungle.

Step one was during production. Again, it was crucial to plan the shot carefully so that it would be easy to get rid of the background by keeping it perfectly still and not having any objects crossing the area I was going to edit.

Step two was in post-production. I took a screenshot and imported it into Pixelmator. To take a screenshot on a Mac press Command-Shift-4 on your keyboard. If you are working on a PC, here are two ways to take a screenshot.

Once in Pixelmator, I deleted the background by selecting in with the Lasso Tool and the Magic Wand Tool. To blend the transparent egg carton in the center of the screenshot, I used the Repair Tool (this handy tool allows you to fix image imperfections such as scratches, blemishes, etc).

Then, to simulate the transparency of the egg carton, I used Brush Tool with the opacity set to 30%.

Photo by Totemworlds

Tip: Remember to take your screenshots in full-screen to preserve quality.

3 Export your file as PNG

In this technique, always export as PNG because that way we preserve the transparent areas (marked by tiny white and gray squares). A PNG file is much larger than the common photo file we know as JPEG, but it allows much more flexibility.

4 Import your PNG file into your Video Editing Software

Import your PNG file into your Video-editing software of choice, the program will allow images or video to reproduce within the transparent areas. Generally, the option to import is found in the Menu Bar under File.

Since I did all the retouching work previously in Pixelmator I was ready to fill the transparent area with an appropriate background. I imported a photo that is both visually striking and matched the kind of lighting of the original shot. With the background layered behind the edited screenshot, the shot started to look like it was filmed in the middle of the jungle!

5 Use effects for greater realism

Some useful effects to better blend both layers include Camera shake (to decrease dullness from having a still shot), Noise Grain (to blend everything together), Glow (to simulate lighting coming from the windows in this case) and even adding Flare or moving particles like dust to add more realism.

“Scorpion Pose” Case Study:

For this shot I used multiple sets of tools in Pixelmator to fix issues, retouch, and make the shot look more appealing. First I used the Repair tool and Copy-Paste to remove the table my foot was resting on. Then, I selected the entire left wall, flipped it horizontally, and pasted it onto the right side to make the shot more symmetric.

Tip: Use a soft eraser with 0% hardness to smooth out the edges of your selections.

It was necessary to remove the white towel on the floor (thankfully my subject didn’t cross that area) so I used a combination of the Repair Tool and the Clone Stamp tool for this, using the texture of the floor around my subject as reference.

Finally I added some effects: water refraction on the roof, a slight glare coming from above, some grain noise, and color correction for a dramatic effect! To see the finished result, find this shot between 19:08–19:11 of the film.

Working with Photo-editing software instead of video was a smoother experience which allowed me to be more precise with my retouching. I hope these techniques will encourage you to tweak and enhance your existing shots and make them more special.

Follow Totemworld’s work on Youtube and Facebook.

How to Shoot and Edit White Objects against White Background

August 4, 2020

By Daria Huxley

Many commercial photographers working with brands and companies often need to take a picture of a white object, be it a piece of clothing, as accessory or tableware, — against white background. This is a standard practice that requires photographers to deliver photos ready-to-publish, specifically for company catalogs or websites.

In this tutorial I explain the lighting schemes and editing practices that will help you achieve best looking results.

Part 1. Shooting the White Object against White Background

First of all, you will need a shooting table where you can place your items, and two light sources, preferably with large soft boxes. Soft boxes are especially great since they create a nice looking soft shadow, which is ideal for creating some contrast between the item and the background.

You can use the lighting scheme presented in the image below.

Sample lighting scheme I use for small-sized product photography.

Place your camera on a tripod and photograph your item from a couple of different angles so you have variety. I typically set the ISO at 100 and have the aperture at 4.0, but this may vary depending on your subject.

For this tutorial I am going to be using an example of the lingerie piece I photographed for one of my clients. Original photo would look somewhat like the photo I had taken below.

After you are done taking photos of all objects you need and you made sure you got all objects from a couple different angles, it is time to edit the photos to achieve the desired look.

Part 2. Editing Photos of White Objects against White Background

The most important part here is to make sure the whites appear as whites on any screen as well as in print. For that reason we have to pay close attention to white balance.

Original photo of a white item on white background. ©2017 Daria Huxley

I do the main editing of my photos in Photoshop, but before that I do batch processing in Lightroom. In Lightroom you can make exposure correction and correct the basic white balance. See the intermediary result after editing the photo in Lightroom below.

Photo of a white item on white background with basic exposure and white balance adjustments in Lightroom. ©2017 Daria Huxley

After you made the basic corrections it’s time for the heavy Photoshop work. Note: you could do the basic retouching in Photoshop right away, skipping the previous step. I just prefer it that way because it fastens my workflow.

Now that we have our image in Photoshop, create a duplicate layer for the main image. We always want to have a “safety” layer, just in case we ever need to return to the imported original.

Basic layer structure for editing product shots in Photoshop.

After copying the layer, apply Levels adjustment layer. Use white color picker on the background — the program will automatically calculate the best exposure for your main white. Make sure you navigate a couple different places before picking up the best one. Also, make sure your object appears well lit and no details are lost in highlights.

Exposure correction via setting a white point through Levels adjustment layer.

After setting the levels we can now start working on the background. For this purpose create a mask of your secondary layer. Create a perfectly white layer just below the masked one — you have your ideal background hidden for now. Use Wand Tool to select the whites on the main layer, select the mask and then mask away the whites.

Photo of a white item on white background with levels adjustment layer applied and with cleaned background. ©2017 Daria Huxley

Here is what the image looks like with Levels adjustment layer applied and background removed. Now it’s time to do the shadow work, which is the most time-consuming part of the entire process.

Once again, select the mask and start working away with the large soft brush at about 15% transparency. Change the size of it according to the exact area you are working. In the end you get the result which looks approximately like this.

Final ready-to-use catalog photo of a white item on white background. ©2017 Daria Huxley

This process can be applied to any white or light object that needs to be photographed against the white background.

I hope you found this tutorial useful, and good luck to all of you in your work!

Tips for Hiring an Event Photographer and Planning a Successful Shoot

August 3, 2020

By Daria Huxley

Many people and companies today are looking to hire a professional photographer to document their important event — be it a conference, a wedding, a birthday party or perhaps a comedy show they are performing.

Above: David Bradley Isenberg (left) and James Harvey (right) presenting their comedy show “Second Cousins Show” in Sidewalk Cafe in East Village, New York. © 2018 Daria Huxley

If you are new to hiring a professional photographer, here is some advice for choosing a photographer and setting them up for success at your event.

Choosing Your Photographer

First of all, make sure you choose a photographer you are ready to trust. It is impossible to be a producer at a large event and control every step of all your crew at the same time. You don’t want to focus on photography, you want to be present at the actual event and experience it fully.

Ask your network for recommendations first. It is always better to hire someone who has positive reference from your friends and / or colleagues. If nobody in your network has ever hired a photographer — go online and look for good portfolios.

You can start by googling the type of photographer you are looking for naming the keywords: “wedding photographer in LA”, “portrait photographer in NYC” and so on. Some of the good portfolios may come up.

You can also look on creative professional networks such as behance.net, Flickr or 500px.com. Also, Instagram or VSCO can be good places to look.

Photography associations such as American Photographic Artists (APA) or Professional Photographers Association (PPA) have vast databases of photographers in your area. You can usually do a search by the genre or the field.

For specific photography genres such as wedding photography there are many agencies that have access to many professionals and can give referrals and recommendations. When budgeting, keep in mind that specialized event photographers with a lot of experience are likely to charge top-market prices. If you are on a tight budget, broaden your horizons. For example, a photographer who has a strong street photo portfolio or is a photojournalist might take up an event photography job and do it exceptionally well.

Our company Fourwind Films works with professional photographers all the time and we would be happy to connect you with one for your specific needs. Don’t hesitate to use us as a resource as well.

Planning For The Shoot

So, you like their portfolio and the price range appears good. This is only a half of what you need to do to ensure you get the desired result. It is always helpful to send detailed shot list of the event to the photographer, to ensure they take all the shots you may need.

If you have never written a shot list before, I would suggest outlining it with the end result in mind. What sort of images you would want to to end up with and for what purpose? After you settle on an idea, try to describe this to your photographer as simply and clearly as possible. Keep the exact shots in mind. Mention the practical navigation, e.g access to stage, hallways, staff entries etc. Give them the timeline, what is going to happen and when.

Here is a sample shot list I received for a Halloween party:

Shoot both stages and two bars (inside the building and neighbor’s alleyway) — so you’ll need to roam around between the two areas;
Shoot DJs and two Music Acts, capturing the artist and audience;
Make sure you get Hanging Mural on the outside covered in drapes — capture the look from outside and line activity;
The river will have green lights and smoke, — capture that spooky essence;
Womb rooftop — great vantage point to shoot the party looking down on all everything;
Face painters;
Employees (will have yellow wristbands) — shoot individuals and group shots;
Clients/family/friends will have red wristbands, make sure to get posed photos of them as well.

The timeline looked like this:

8:00 PM Open / DJ
9:30 PM First Music Act
10:15 PM DJ
11:00 PM Second Music Act
11:45 PM DJ
2:00 AM close

Make sure you forward your photographer the event agenda with all details, break information and special requirements. If you have any references of what look in the pictures you are aiming for — make sure to let your photographer know in advance.

Photographers always appreciate it if you treat them well and provide lunch in case of a full day event. Showing that you care about the people working for you is important. Believe me, a hungry photographer won’t ever take as good shots as a full and happy one!

Happy scouting!

-Daria Huxley

Creative Director & Photographer, Fourwind Films