2008 Student Film Contest

HELPFUL TIPS FOR STUDENT FILM SUBMISSIONS

These TIPS are not offered as an A - Z list of how to make a film. Several multi-media professionals were approached by the WVIFF and asked to offer advice for aspiring student filmmakers. What has been collected are entertaining and inspiring ideas for making student films that stand out in the crowd. The contributors to the TIPS page are listed in alphabetical order and a short biography of each contributor is included. We are very grateful for their time and efforts. This page will be updated periodically with new TIPS. We hope you enjoy this new feature to the WVIFF Student Filmmaking Competition. See you at the movies!

A. JAMIE COPE

Jamie started Destiny Images in 1992 after graduating from Washington University with a degree in mechanical engineering and a minor in fine art. Since then Jamie has helped establish Destiny Images as the premier animation house in its region. Jamie has contributed to a wide range of projects from short films, to commercials, to accident recreations, to educational videos and more. Along with his work at Destiny Images, Jamie serves as President of WAVe (WV Animators & Videographers etc.) and is a member of the WV State College Communication Department's Advisory Council. Jamie enjoys working with educators, which he has demonstrated by guest lecturing at the WV Governor's Honor Academy and making school appearances with first graders, college students and most grades in between. He has also taught some workshops at Ohio University. Jamie's films have been featured in exhibitions nationwide, and his "Life of a Tennis Ball" won the WV International Film Festival.

1. Have fun! I mean this - students having fun tend to produce better projects. If your project discusses a serious topic, then substitute "passion" for "fun."

2. Tell a story. Since these are all "no-budget" productions - it is understandable that the acting and technical qualities of your film will be sub-professional. Good gear is expensive and hard to get access to (even for professionals). Writing and story-telling is completely free. Spend more than half your overall time on that part of your project and it will show. This rule applies to documentaries too! Don't think that because you don't have a script you don't have to tell a story.

3. Keep it short. I have a great deal of respect for people who make "feature length" films as students. More often than not, the films would have been better as shorts. A well put together 2 minute film is better than a 120 minute sloppy one.

4. Pacing is key. One common trend that makes student films - well - boring, is the length of the shots. Watch your favorite TV show, movie or music video and time the length between cuts. If you are watching an elderly person reflecting on the past with a sunset in the background - shot lengths could be 15 seconds or longer. A chase scene might have 5 or 6 shots in the same amount of time. One long shot is the reason vacation videos are so boring!

5. Make sure you own it. One sticky part about this business is copyright. Don't use stories, music, or characters that you didn't create unless you have permission. Be creative in getting around these obstacles.

6. Ask for input. Family and friends are often too close to give objective opinions (My mom LOVED my 5th grade poem about Thomas Edison - but I doubt it will show up in print anytime soon). The WAVe group would like to extend an open invitation to student filmmakers and their teachers. We'll review your story ideas, rough video, or finished films. There are several video professionals and instructors in the group that will be happy to provide encouraging feedback (Don't worry your film won't get bashed). We meet at 7:00 PM at the Putnam Co. Library the first Monday of every month. Everyone is welcome. Email me if you have any questions about WAVe (jamie@destinyimages.com). I hope to see you there.

B. ROBERT TINNELL

Robert Tinnell is enjoying a varied and illustrious career as a filmmaker. He is the Director of four feature films: ''KIDS OF THE ROUND TABLE'' (1995); ''FRANKENSTEIN & ME'' (1996); ''AIRSPEED'' (1998); ''BELIEVE'' (1999). ''BELIEVE'' recently placed second for Best Feature at the Chicago International Children's Film Festival. He is also credited on four other feature films. He has directed numerous commercials, television programs, and music videos. Mr. Tinnell graduated from Fairmont State College in 1983 with an Associate of the Arts in Liberal Arts. In 1985, he received a B.A. in Motion Picture Production from Colombia College, Los Angeles. He is now based in West Virginia.

1. Read. Read everything. The classics are a great training ground. Read novels that have been adapted into films and then watch the films. Read comic books (they're nothing but movies on paper and some of the best storytelling in the world is done in comics). Good filmmaking is storytelling. The best way to learn storytelling is from the masters. A big problem with a lot of films made today is that their makers draw all their inspiration from movies and television alone. That explains the great number of bad films and the fact that we often feel like we've seen it all before. Remember, the great classic films of the first half of this century were made by folks whose primary influences were literary -- because movies as we know them hadn't even existed in their childhoods.

2. The above doesn't mean you don't have to watch films anymore. On the contrary you must watch more than ever. Preferably good ones. Do NOT skip over the old black and whites either. Give CASABLANCA a chance. Try some of the foreign ones. And believe it or not, cultivating an interest in classical music and film scores, theater, opera, dance, architecture, art - all of these disciplines will make you a better filmmaker.

3. Try watching your favorite movie with the sound turned down. Notice how the story is propelled by the editing. Then apply it to your own work. Editing creates life in cinema. Lengthy shots in the hands of a master can be compelling but when a beginner works that way it's usually boring and a dead giveaway that the filmmaker is clueless. Be vicious with your work. Don't leave things in just because you like them. Ask yourself: Do they propel the story? Woody Allen cut the three funniest scenes out of ANNIE HALL (which one the Oscar for Best Picture). Why? Because as good as they were they slowed the picture down and ruined its pacing. Now that's discipline.

4. Find some good books on Film Theory and study them. TRUFFAUT ON HITCHCOCK is very interesting. There are tons of others. Read as much as you can on how films are made, NOT the usual gossip you'll find in shallow efforts such as PREMIERE. Knowing what Spielberg likes for breakfast won't improve your craft. Knowing how brilliantly he constructed JAWS will. In fact, watch JAWS with and without the sound. Pay attention to that film and you'll learn just about everything you'll need to know to make good pictures. Same goes for CITIZEN KANE, THE SEVEN SAMURAI, THE ROAD WARRIOR, GONE WITH THE WIND, THE GODFATHER, and LAWRENCE OF ARABIA. Watch a couple of cheap ones too. See how brilliant people with not a lot of money made something special. Try NIGHT OF THE LIVING DEAD (1968), METROPOLITAN, Carl Dreyer's VAMPYR (1932) or OPEN CITY (an Italian Neo-Realist picture that you really must see). These films are boring dusty relics. They're vibrant and relevant and if you care to study them your work will improve.

5. Try to make a film that doesn't rely on some popular piece of music. You don't own the rights for one. Two, judges really hate that. Three, they are called "moving pictures." If you want to direct music videos, fine. Just don't pretend you're a narrative filmmaker.

6. Never listen to people who tell you it can't happen, that you can't make it, that wanting to work in film is an impossible dream. They are so very wrong. You can do whatever you want as long as you don't quit. Which brings me back to becoming a storyteller. If you have ideas, you don't need expensive equipment and film and crews to tell your story. You need only some blank paper and a pencil. And you need no one's permission save your own to fill them.

Good Luck.

C. PAMELA HAYNES

Pam is aPast president of the Board of Directors of the West Virginia International Film Festival. She is a graduate of New York University's School of Continuing Education, Intensive Filmmaking Program. Pam has worked on several short and feature length films in New York, Virginia, and West Virginia in a number of positions, including production coordinator, script supervisor, and editor. She was a prior editor of news narratives and footage at WCHS-TV8 (ABC affiliate). She currently is the director of the West Virginia Film Office.

1. Place opening credits (titles) and ending credits on the film/video. A cheap way to do this - especially if you don't have access to a computer - is to simply handwrite the credits on a piece of paper or poster board, etc., and shoot the credits. Have one of the crew or one of the actors hold the credits. Opening and closing credits are very helpful to viewers - especially to someone judging an entry.

2. Package the video properly. Place a label on the video identifying the title of the film/video, identifying the school and county from which it is submitted, and including a contact phone number in the event an entry form becomes separated from a film/video.

3. Always watch the film/video before submitting it to the contest. The judge will be seeing what you see. If you don't like it, try to find a way to do it over. Plan ahead. Don't wait until the last minute to create the project -- it will show. If you have editing capabilities, review the film/video for unnecessary footage and cut it out.

4. Tell your actors to not look at the camera. Rehearse the scene you are shooting until you think the actors are ready for the camera to roll. Don't record any action until you are sure everything is the way you want it to be. This will save not only on editing time, but also on the amount of film stock or videotape used.

5. Personally, if I had a choice to sacrifice the picture quality for the sound quality, I would choose to sacrifice the picture quality. If I can't hear what is being said, what is the purpose in watching the action. Make sure the microphones are recording. Conduct a sound test. If you watch the film/video and you can't hear it, neither can anyone else.

6. Now that I've bored you with technicalities, the absolute most important thing to do is to have a great time creating the project! Filmmaking is a team effort and can be loads of fun. If working on a class project, share crew positions. Let everyone have an opportunity to work in a position they might enjoy. See what happens. Be creative. Be positive. And Good Luck!