How to Make a Movie

What you need | Step by step | Storytelling

Factual movies | iPhone filmmaking

How do you get started with filmmaking, and make short movies or video that people will want to watch? You need to:

• Choose the right equipment
• Learn how films tell stories
• Develop your story idea
• Plan your shots and sound
• Film and edit the movie carefully
• Get feedback before you finish
• Share it in the right format

Tip: Before you start on a big filmmaking project, make some simple short movies to build your skills.  So if you’re planning to make a documentary, make a mini-documentary to practise. If you’re planning a drama, try filming a single scene.

Want to get started quickly? Read my 10 tips for beginner filmmakers.

Get the right equipment

You need a camera to film your movie. You could use an iPhone or camcorder, but a mirrorless camera like the Panasonic G85 or Fujifilm X-T3 has more scope for creative filmmaking. A microphone will help you get better sound, and a  tripod or stabiliser will keep the camera steady. You might need lights or reflectors.

You’ll need an editing program or app. iMovie and Adobe Rush are easy to use; Final Cut Pro X and Adobe Premiere Pro are more advanced and powerful. If you’re shooting on a smartphone, you could edit on the phone or a tablet, but it’s easier on a computer.

Here’s my list of what you need to get started. You don’t need to buy everything: it’s best to hire or borrow anything you won’t use regularly. 

Learn how films tell stories

Film language means the way pictures, sound and editing help to tell the story. Your movie will be much better if you know when to use a closeup and when to use a wide shot, and how to use the lens, camera angle, light and sound to create a mood.

It’s important that your shots look right when you edit them together. The continuity system can help. It’s a set of rules about where to put the camera and how to frame your shots. It’ll make your movie easier to understand and better to watch.

Develop your idea

First, decide what kind of movie you want to make and why you’re making it. Is it a drama, a campaigning video, a documentary or a music video?

Keep the story or idea simple and make sure people can understand it. Can you describe it in 50 words or a tweet? If you can’t, it needs to be clearer.

Plan how you’ll tell the story. Beware of relying on a clever twist: your movie should be interesting all the way through. Make sure you grab people’s attention from the start, then give them a reason to keep watching to the end. You could follow a standard three-act structure: a setup introduces the characters and the scenario; in the development they work through the challenges, and a resolution wraps it up.

If you need inspiration, I’ve put together some cool short movies and filmmaking techniques here. And this page has short film story ideas and advice.

Be realistic. Don’t worry if you can’t afford lots of characters or an expensive location. Instead, treat limitations as a challenge.

Keep your movie short. You can make a one-minute movie in a few days.  A ten-minute movie will take weeks. And the longer the movie, the harder it is to hold people’s attention to the end.

Plan your movie

The moviemaking process has three main stages: pre-production (planning), production (filming), and post-production (editing and sharing).

Pre-production is the planning stage, where you work out your movie in detail. You need to plan what you’re going to film, how you’ll film it, and what you’ll need for the shoot. Planning might seem boring if you want to go straight to filming, but it’ll save time in the long run.

There are several ways to plan. You can develop ideas using a mindmap or mood board. Then you can write a script and draw storyboards or make shot lists. Go to this page for my film planning templates.

Choose actors or presenters/interviewers carefully. So, for a serious movie, don’t rely on using your friends unless you’re sure they can act. Audition them before you commit to using them.

Drama students can make good, affordable actors, but if they’ve only acted on stage they’ll need to tone it down for the camera. That means speaking naturally, using smaller gestures, and keeping their eyeline close to the camera without looking into it.

Check out the locations where you’re planning to film. Make sure you can get permission, and find out if you’ll have to pay. Is the location safe? Will there be any interruptions?

Some filmmakers shoot ‘guerilla-style’, filming on location without permissions or permits. This is risky as you could get stopped or fined. And it may not be necessary: some cities will let small crews film in the street for free as long as you let them know in advance. 

Plan your film as a series of separate shots.  You’ll probably need between twenty and forty separate shots for a one-minute movie. 

Don’t forget sound. You need to consider it from the start. Good sound can make an average movie great; bad sound can make it unwatchable. So if you don’t have the right gear to get good live sound, make a movie that doesn’t need it. Edit to music or a voiceover, or add sound effects. But be careful not to use copyright music without permission.

When you’re ready to film, you need to make sure you’ll have everything you need on the day. You can use a shooting schedule and call sheets to plan this.

Film your movie

Production is the filming stage.

Work in a team if you can. You can film single-handed, but it’s easier with other people. In a three-person team, the director has overall control and works with the actors or presenters; a camera operator films the shots; and the sound recordist sets up microphones and checks the audio.

The filming stage is much easier if you’ve planned it in advance. Make sure your actors learn their lines, and work with them to ‘block’ the scene. That means planning where they will stand and move, and how the cameras will capture their performance.

If you need to shoot drama scenes with just one camera, you can do it by filming the action several times.

First, film a master shot of the whole scene all the way through.

Then reposition the camera to frame a closeup of one actor. Film the scene again.

Now film the scene a third time, framing the second actor. When you edit the movie, you can start with the master shot then cut back and forth between the closeups.

Before you start recording, check that camera settings are correct. Check the framing, light, sound and focus. Use a microphone, and listen to the sound on headphones, if possible.

Film each shot for longer than you need (ten seconds before and after any action). If you’re working in a team, you could follow the shooting drill on this page. Either keep the camera still, or move it smoothly and steadily: don’t pan and scan.

Check your shots before you leave the location if you can.

Editing and sharing

Post-production is where you choose what you’re going to include in your movie, edit it, add sounds and effects, and get it ready to share. Make sure you allow enough time for this stage.

Before you start, get ready to save and backup your work. Then go through what you’ve filmed and choose the stuff you’re going to use. You could make a paper edit, working out the edit in advance. This can be really useful for documentaries. 

Open your editing program or app and create a new project. Then find or import your clips. If you’ve got a lot of material, you can organise it into separate folders. If your movie is complex, divide it into separate sequences, then combine them at the end. This is easier to manage with pro editing programs. 

Start editing by putting together a rough cut. Choose roughly the parts you need from each clip, and add them to the timeline in order. Then check the order and see if the movie makes sense. Change the order, and add or remove shots, if you need to. Remember it’s the finished film that matters, not the individual shots. So you should be ready to get rid of your favourite shot if it doesn’t fit the movie.

When the order looks right, adjust each individual edit so the sequence flows smoothly. Then add sound effects, voiceover and music, and adjust the audio levels.  With pro programs, you can also correct the colours. Next, you can add effects and titles.

Before you finish editing your movie, show it to other people and see what they think.

• Does it make sense? Is the story clear?
• Is the timing right: is it the right length, and is the pace consistent?
• How about the audio: can you hear all the dialogue?
• Finally, does it feel right? Does anything feel awkward or wrong, and what can you do to improve it?

Make sure your movie is saved and backed up, and then export or ‘share’ a copy at the highest quality your program allows. (You can alway make a lower quality copy from a high quality copy). Finally, make copies in the format you need for distributing your movie. If it’s for online use, check the specifications with your host or streaming service. If you’re not sure what format to use, choose MP4: it’s compatible with most phones and computers.

Most of these are listed in my blog: Directing Tips but here are a few I’ve learned on set and in the process as a whole:

1.    Know what you want.

2.    Always shoot ten times more than you need.

3.    Take one good take, then take another. (Some people who are better at planning than I am don’t need to do this, but I prefer to always have extra on hand in the editing room. Some directors like Michael Mann will take 80 takes for every shot, so try and see what works best for you).

4.    When in doubt, keep the camera rolling.

5.    When calling for a cut, wait about 3 seconds before actually cutting. This extra margin will greatly help your editing.

6.    Listen to what your actors, PAs, and everyone on set suggests you to do, especially regarding continuity and character motivation, but disregard anything that seeks to replace your creative vision with someone else’s.

7.    If you feel like you don’t have enough footage while you’re on set, you’re right.

8.    Be empathetic. Don’t insult anyone on set, make sure your actors know why they’re doing what they’re doing, coach them on how to do it, and be patient if they don’t immediately get what you’re trying to find.

9.    Be inclusive. You never know who can step up and be the best of your crew when you’re not expecting it.

10.       Train your replacement. If you’re the director and the person in charge, be sure to help someone improve in their skills every time they’re on set. Teach a PA how and why you mark takes, teach a costume designer character geometry, teach your actors how to act in front of a camera, teach your AD how to record. It makes dividends.

11.       When with a crew that’s on set on their own time, try to have fun. That keeps people relaxed and coming back. You’re not making an Oscar film, so just try to have a good time.

·         There are plenty of people that want your job. Work hard and keep the competition in mind.

·         When heading off to the set, “if you’re on time, you’re late.” In other words, be early.

·         Be proactive. If you’re a production assistant (PA), have a sturdy tool/equipment belt and carry a few bottles of water on it - one for you and some for the people you work for. If one of them asks you to grab a bottle of water for them, whip one out right there and restock when you get a couple of minutes.

·         Stay hydrated.

·         Stay fed so you don’t get light-headed. Carry a few energy bars with you just in case.

·         Carry a pad of paper and plenty of pens and pencils.

·         Make sure your cell phone is fully charged when you start the day. Carry a battery pack if you can so you can recharge without AC power if you need to. MAKE SURE YOUR PHONE IS TURNED OFF OR IN AIRPLANE MODE DURING SOUND TAKES. Not on vibrate.

·         Don’t be discouraged if you start out working in crappy positions. A good attitude and efficient work habits will get you noticed.

·         Use your work as a learning experience, but don’t let the learning get in the way of doing the actual work.

·         Mistakes happen. Admit it right away if you make one so the effects can be minimized. Hiding it so that it doesn’t become apparent until it’s too late is not good.

·         Although you’re in a competitive business, don’t treat the people you work with as adversaries.

·         Try to give more than you get, as nebulous as that sounds. Don’t make it seem like you’re there for you, earnestly be there for them.

·         Don’t touch equipment that’s not in your area of work. If you’re working as a grip, don’t mess with the camera. If you’re working in camera, don’t mess with light stands.

·         If you see an obvious problem like a light stand teetering dangerously in the wind (not a perceived procedural or artistic problem), let your supervisor know and that person will hopefully let the appropriate people know so they can deal with it. Exception: If you see something dangerous happening right in front of you, like a light stand toppling over onto someone, go ahead and save their life by catching it.

·         Don’t initiate conversations with actors. I know it sounds draconian, but some actors need mental “alone time” to prepare. If they approach you, no problem, feel free to talk with them.

·         Don’t try to be first in line for meals, and especially don’t be upset if the director, cinematographer, actors or other high-profile people go first. They often have less time to eat. You won’t need to skip any meals, but you may not have quite as much time as you’d like to eat. It may be easy for you to grab a quick snack to make up for that rushed meal, but the high-profile people might not have that free time.

·         Try not to cross in front of lights or the camera. If you have to cross in front of the camera and there’s someone working with it, say “crossing” just before you get to the camera. Try to see if crossing its field of view would interrupt what the person is doing. If so, wait or go around.

·         Film and video production is expensive, which is why people try to move at lightning speed. Do the same, but don’t go so fast that you’re careless.

“What advice would you give to a first time for maker?”

I don't think of newbie filmmakers as “startups” or any other kind of business mostly because newbie films nearly always lose money. This is not normally the model to base a business on.

If I'm wrong and you really do want to make a business out of making films then you're starting with the wrong approach. Start by learning all the skills of filmmaking first, learn the ropes, pay your dues. Until you do you have no idea what you're getting into. I would give the same advice to someone asking about starting a restaurant - don't do it until you know what's involved.

OK, so the advice is as follows:

1.    Don't start a business until you understand that business. This goes double with filmmaking.

2.    Learn all the skills of filmmaking, even if you learn some of them a little and others a lot.

3.    Find people to work with that can augment the areas where you are weak. Remember filmmaking is a team effort.

4.    Cameras are important, but they aren't everything. Don't obsess about camera megapixles and f-stops when what matters is what happens in front of it. Work with your Cinematographer and pick the appropriate camera and lenses for both the film and the budget.

5.    Don't buy when you can rent.

6.    Learn accounting. The more of your money you control yourself the less likely you will be taken for a ride.

7.    Nothing makes your film feel cheeper than poor lighting and audio.

8.    Doing your homework in preproduction will save your ass in production and post. This includes getting all of your department heads (Producer,Director, Cinematographer, Gaffer, Casting, Transportation, Post Supervisor, etc.) involved as early as possible. The last thing you want, for example,is your Post Super telling you your footage is unusable and needs to be reshot.

9.    Remember you will be bad at this at first. You will make mistakes. Prepare to try again, try harder and do better.

10.       Running a production is like running any other organization - it takes leadership, vision and money and will involve a lot of compromise. YOU should be supplying all of that, and if not directly supplying, at least a conduit for it. You are the Producer, and you will be acquiring all the funds, either writing or securing the script, and either hiring or acting as the Director. You might also step in as any of the other leadership posts, especially Cinematographer, Gaffer and Post Super. The compromise comes into play whenever you have to hire someone to fill a leadership role you can’t do or they can do better (see Rule #2). This is not a bad thing, it is a good thing. You don’t want to wear too many hats as that takes you away from supplying the vision necessary to drive this ship forward (see Rule #3). Plus they’re likely to do a better job than you an many cases (see Rule #7). Lean on your crew and trust them to do right by you and the project. If they fail you, use your leadership skills to inspire them, lead them, redirect them, and if necessary replace them (see Rule #9).

1. Make a youtube account.
2. Make up a good story.
3. Buy Adobe Premiere Pro or Adobe After Effects.
4. Learn how to use it.
5. Have some friends over. (Or anyone you want)
6. Film the story with your friends.
7. Edit the video with Adobe Premiere Pro
8. Add cool effects and stuff.
9. Render the whole video/movie (it will take time be patient)
10. Upload the movie on Youtube.
11. Repeat numbers 2,5,6,7,8,9,10