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Directing, Visual Storytelling

How to Use Color & Light to Set the Tone in Your Film

By on

April 13, 2020

- Directing, Visual Storytelling

I recommend you spend time thinking about these aspects for your next film. How can you use color and light to enhance your story?

Lighting and color are two of the most important factors in a film, on par with shot choice. Together, light and color change the mood drastically and should be more important than the camera or lenses or equipment you are using by a substantial margin.

A film shot on a cheap DSLR can look excellent with good, well-thought-out lighting. A film shot on an expensive camera will look like amateurish garbage with poor lighting. Finally, unless you’re shooting black and white, color is going to have a huge impact on the emotional experience of your audience.

Example – student short film shot on DSLR:

Compare this to a short film shot by a pro on DSLR (DP Shane Hurlbut):

The difference between these two images is partially skill, but largely about how much thought and effort was put into getting very specific light & color in order to tell the story.

The top shot (and the rest of the film) simply uses the light that was available. They didn’t put much thought into color or light, and it shows.

All filmmakers start out worrying more about whether their shots will cut together right, whether the story makes sense, and so on.

Those are definitely important, but eventually, you must graduate from thinking only about 1 or 2 things and consider more of the storytelling tools available to you if you want to improve the quality of your films.

It’s difficult to talk about these topics, because honestly, while there are some generally accepted ideas about how certain lighting or colors affect emotion, it’s far from scientific.

These topics begin to bleed into the realm of the subconscious that filmmakers play in, and directors must be willing to experiment and possibly fail.

You need to decide, based on your experience of other films and understanding of audience pre-conceptions of certain colors and lighting schemes, whether you think your particular arrangement of light and color will have the effect on your audience that you desire.

In simple terms, the role of the director is as a stand-in for the audience. Using your gut instinct, you must figure out how you think the audience will react to something as abstract as color and light, among other things.

Personally, I love using bold light and color choices to help tell my stories. I have to admit I am very biased toward using strong, saturated colors and lots of contrast, a la Blade Runner. What can I say… I’m weak for that stuff. I think it looks amazing.

Case in point…

However, that doesn’t mean an understated or more desaturated look isn’t a viable option. It all depends on what will best serve your story.

For example, in a film like Book of Eli, they decided to make all colors earthy and dull, and the lighting harsh and stark:

This is, of course, entirely intentional. For each and every scene, they had to ensure that every character had wardrobe and accessories that fit that color scheme, that locations, vehicle interiors/exteriors, decorations on walls, and everything else fit the desired color scheme.

Any stray bright, happy colors in the scene, would draw far too much attention and be distracting.

The color scheme and lighting style are a reflection of the world in which they live. It’s a harsh world, and there isn’t much prosperity. Everything looks dead.

Even in a scene like this, with probably the most color variety in the film, uses understated baby blues, faded reds, and sickly yellows that all fit the tone of the film.


How to communicate your light & color to crew

Look books are indispensable for communication. They come in many formats (PDF arrangements of images, Google Drive folders, Pinterest boards), but they all do something very well; communicate the look you want to your crew.

This is an example of what I use. You can probably see a pattern/style of lighting emerge from my samples:

Well, my crew can too. And I also take the time to go over it with them so we are on the same page and my vision is crystal-clear.

You can’t assume that your team knows what you want, so lay it out for them in very concrete terms. The other benefit of making a look book is that the process of creating it helps you better understand what you like and want to see for your film.

I have talked about look books at length and how to make them in this article, if you’d like to learn more.

Well, I hope this is helpful and you’ll spend a bit more time thinking about how you use light and color in your films to best tell your story.

Until next time, Storyteller.

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Directing, Film Distribution, Fundraising

Storyteller Podcast Ep. 3 | From 1st feature film to Netflix w/ Joseph Mbah

By on

January 7, 2020

- Directing, Film Distribution, Fundraising

LISTEN TO EPISODE 3 HERE.

The Storyteller Podcast can be found anywhere you listen to podcasts (Apple Podcasts, Spotify, etc.). A quick way to find it is to search for “Storyteller Nick”.

This episode, I have a discussion with writer/director Joseph Mbah. Joseph has directed 4 feature films and written 2 of the 4. We discuss his experience making his first feature film and what he recommends for those who want to do the same, including how to approach filming, funding, and distribution. 

We also talk about his experience getting his recent film “Expo” on Netflix, and how that came about as well as what filmmakers can expect when looking to get better noticed for their work.

This episode is full of experience and wisdom from Joe – so don’t miss out, especially if you’ve been feeling ‘stuck’ and unable to get enough wind under your sails to get your first feature film off the ground.

You can find Joseph’s film “Expo” here. Follow him on Instagram @Joseph_Mbah.

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Networking, Self-Development

Film Networking: How to Make Connections Without Being Fake

By on

October 14, 2019

- Networking, Self-Development

Do you struggle with film networking?

You aren’t alone. In my experience, many creative people are not extroverted and would rather work at home on a script than to mingle with strangers.

So as someone who has to work hard to meet new people, how do you find great people and form connections with them, so you can become steadfast collaborators?

Networking isn’t easy, but it is possible, and it is necessary.

Here’s the unavoidable truth of networking:

You have to leave your comfortable space. Get uncomfortable. You’ll be glad you did.

How can you do that? Here are some tips for film networking with intention, so you create genuine connections, don’t come across as desperate, and form real relationships.

1. Go to networking or group events

These can be useful – if you approach them the right way.

Treat a networking event like it’s the local bar. That’s right. Treat the person you’re talking to at the networking event like they’re some random person you’re chatting with at the bar. Just be real and enjoy conversation with them.

People help people they like, not people who are trying to get something out of them.

Genuinely connect with a few people by doing the following:

– Be curious; make yourself truly interested in what they do

– Ask them about them and what they do

– Ask detailed questions; it shows that you are paying attention and are curious

– Let them talk about themselves; people like to talk about what they like/love

If you’re being fake or only asking them about themselves so you can transition to talking about yourself, the person you’re talking to will notice. People can tell when you aren’t being genuine.

(It’s called conversational narcissism, by the way. You should read about it.)

Film Networking: How to Make Connections Without Being Fake

These deeper connections you make while film networking will serve you much better than this common scenario:

“Hi, I’m Nick.”

“I’m John, nice to meet you Nick.”

“So what do you do?”

“Well, I’m actually a sound designer, I’m pretty new, only been doing it a couple years.”

“Oh cool, that’s great. Do you have a card?”

“Yeah, here you go.”

“Great – I actually direct films and commercials – here’s my card. Nice to meet you!”

Lame.

Yeah, sure, you have each others’ cards now… but how good of a connection was that, really? It doesn’t really seem like John or Nick cared to really know about one another. They just wanted something out of each other.

That’s not an effective way to approach film networking.

Did Nick really stand out to that person in that scenario? What kind of impression did Nick leave on John? Perhaps none at all.

They may recognize each other if they meet again, but they certainly won’t know each other any better than they did the first time.

You want people to leave your conversations thinking, “Huh. What a nice guy. Seems like someone that would be great to work with. I wish I would have asked him about his work more.”

It’s better to have 5 great conversations than 20 shallow ones like the above.

2. Work on film sets (in any role)

Networking and group events can help, but all the strongest connections I’ve ever made were from working with someone on set.

There’s something about working hard with someone else for 8, 10, 12 or more hours that forms a strong bond based on shared experience.

This doesn’t work if you isolate yourself – so be sure to make an effort to talk with people and be conversational (when appropriate) during downtime and connect with your fellow crew.

I can’t recommend this method of film networking enough.

In fact, it is how I’ve met the vast majority of my strongest collaborators, including my good friend Joe, who I made my first and second feature film with. I actually wrote an entire article about that experience and why I think finding a producing partner is important if you’d like to check that out.

Film Networking: How to Make Connections Without Being Fake

So other than being on set, what can you do?

3. Connect with people online

I have to work extra-hard to do film networking because I have limited time and am often at home writing or doing pre-production.

So how can you network with other filmmakers if you’re in that position?

Reach out to new people online.

Facebook, LinkedIn – whatever. If you see some work someone posts online and you like it, send them a message and tell them what you liked (be specific) about their work you saw.

Tell them you ‘just wanted to make the connection’, and that you might like to work together in the future. Bam. You’ve just made a connection – that’s a start.

Now you need to nurture that relationship by doing things like:

– Reach out to them periodically; ask how they’re doing

– Talk about something they’re working on

– Share information, an article, or something else they’ll like

– Ask them about their life, family, etc. (as appropriate)

– Ask for their opinions and advice on things

– Introduce them to people that can help them (and vice versa)

– Give them a small gift (if you’ve known them a while) that you know they’ll appreciate

– Involve them with your projects & work with them when possible

One of the best things you can do is introduce people to others that can help them. People really appreciate that, and sometimes they will form a strong, long-term connection with those people. You just helped out two fellow filmmakers simultaneously. How cool is that?

For example, let’s say you’ve been chatting with someone who creates costumes. Sci-fi is their thing. Great. Your heard that a friend of a friend, Julie, is looking for a costume designer for her alien short film.

Introduce the two of them. They’ll both thank you.

Okay, so now you know how to approach film networking in a smarter, more genuine way.

But how do you know this is a person you should work with?

4. The kind of people to look for when film networking

1. Seek people with integrity and good character

This is the most important. Not experience. Not intelligence. Character. Why?

A person with character and integrity will follow through on promises. They will be trustworthy, reliable, and honest. They will likely be pleasant to work with and willing to help others.

You might find a prodigy, genius, amazing person… but they’re an ‘A-hole’. You don’t want to work with them. Neither does anyone else.

There are plenty of people like this in the film industry. They are self-centered, narcissistic people who partake in filmmaking to satisfy their own creative ego and soak up as much of the limelight as they possibly can.

This is the type of person who will abandon your project last-minute after committing because someone else offered them something better.

This is the person who will talk behind your back instead of being transparent. The ‘A-hole’ is the person who seeks their personal benefit at the expense of relationships with people.

They may be helpful at first – if it happens to benefit them – but it won’t be worth the hassle in the long run.

There are obviously varying degrees of this type of behavior. Many people struggle with a bit of ego. That’s normal.

You need to know what you will and will not tolerate before you commit to a project with someone, but it helps to screen out people that are a bad fit for you before you get to that stage.

The above traits are something to look out for when you’re film networking and want to find reliable, long-term collaborators with whom you can enjoy making films. This brings me to my next point…

2. Seek people you can grow with

You might be surprised where you find your best collaborators. Don’t assume that because someone is technically inexperienced that they aren’t a potentially valuable teammate.

A dedicated, passionate, quick learner is great to work with, especially if they are trying to continually improve their craft.

Film Networking: How to Make Connections Without Being Fake

Remember that even if you are more experienced than the other person, you are still learning as well, so think of this person as ‘someone you are growing with’.

Don’t discount anyone when you approach film networking.

You might be pleasantly surprised to find that the newbie producer you met is actually a greater asset than you realized.

They’ve only produced one short film – but they have spent the last 10 years doing project management for a construction company.

Don’t you think those skills are applicable to filmmaking? Be on the lookout for people like this. You can help them grow their skills and meet other people in the film community. They can help you by providing their assistance on your films.

Master list of tips to strengthen your filmmaking relationships:

Like any relationship, the key is to steadily build trust by doing what you say you will and giving value to that person (time and/or resources).

– Reach out to them periodically; ask how they’re doing

– Talk about something they’re working on

– Share information, an article, or something else they’ll like

– Ask them about their life, family, etc. (as appropriate)

– Ask for their opinions and advice on things

– Introduce them to people that can help them (and vice versa)

– Give them a small gift (if you’ve known them a while) that you know they’ll appreciate

– Involve them with your projects & work with them when possible

– Be curious; make yourself truly interested in what they do

– Ask them about them and what they do

– Ask detailed questions when chatting; it shows that you are paying attention

– Let them talk about themselves; people like to talk about what they like/love

– Avoid conversational narcissism, which you can read about here

– Spend time with them and show you care about them as a person

– Talk to them on the phone; give them a call here and there

– Invite them to go places

– Get to know them, what they need, and what they desire in life

– Don’t message them only when you need something

I hope these film networking tips help you find some wonderful collaborators. My best filmmaking collaborators have also become some of my greatest friends, and I’m sure you can find people like this too.

If you’d like to connect with a great group of filmmakers right now, you should join the Storyteller filmmaking community on Facebook.

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Directing, Visual Storytelling

How to Use Shot Sizes & Camera Angles: 4 Ways They Affect Perspective

By on

September 15, 2019

- Directing, Visual Storytelling

How do you pick your shot sizes and camera angles?

Are you picking what looks cool? Are you picking what is easiest or most practical?

Maybe you’re just winging it, even though planning out the visual storytelling is one of the most important things a director can do.

Well, you should also be making storyboards/shotlists and probably a look book, too.

Or are you picking your shot sizes and camera angles in pre-production based on how your shot choice affects your story?

You should be doing the latter.

But how do you decide which shot sizes and camera angles are best for your film? There’s a lot to shot choice and how it affects your audience.

So, by popular demand, I wanted to cover an aspect of visual storytelling, and that is…

What is shot perspective, exactly?

Shot perspective is the point of view in which you place your audience. When you make a shot choice, you are selecting the perspective from which your audience will experience your story.

Perspective consists of two aspects:

1. How close you are to the character (shot size)

2. What angle you see the character from (camera angle)

Why is perspective–including shot size and camera angle–so important?

Perspective is the single strongest influence on how your audience experiences your film.

At least, this is true regarding the visuals – the cinematography, lighting, etc.

After all, there are tons of movies that never moved the camera, were black and white (without fancy lighting), and didn’t have glamorous visual effects, yet were popular and commercial successes.

Part of that is obviously good storytelling, writing, acting – the other important parts. But when it comes to the visuals, the most powerful tools they had ‘back in the day’ were the shot sizes they picked and camera angle they chose.

How perspective affects your shots

How do shot size and camera angle (also known as angle of view) affect your shots – and your audience’s experience?

Shot size and angle of view both change the level of intimacy with the viewed character.

Every type of shot ranges on a scale from subjective (personal, intimate) to objective (impersonal, neutral).

Generally speaking…

1. How close you are to the character (shot size, or ‘proximity’)

Closer to character = more personal and intimate

Farther from character = more detached and impersonal

The scale of shot sizes, starting with the least personal and going to most personal, includes: point of view (POV), extreme closeup (XCU), closup (CU), medium closeup (MCU), medium (MS), cowboy or three quarters full shot (¾ full), full shot (FS), wide shot (WS), and long shot / extreme wide shot (LS / XWS).

Check out the below graphic for an illustration:

To be clear, when I talk about shot size or proximity here, I’m only talking about how large the character appears in the frame. I’m not talking about what lenses to use, wide or long lenses, etc.

That being said, if you want to learn about how your lens choice affects your image, you should read my guide Indie Director’s Guide to Creative Lens Use.

The reason a closer shot size like a medium or closeup is more emotionally intimate is that Humans only get that close to someone who they know very well.

Subsequently, we aren’t familiar with how people look closer than an arms-length away unless we have a very close relationship with them. Therefore, when the audience perceives they are at an intimate distance to a character, it arouses deeply ingrained, instinctive emotions.

The opposite applies for further shot sizes. People that we see from a distance are strangers. We don’t connect with them on a gut/emotional level.

2. What angle you see the character from (camera angle, or ‘angle of view’)

In order to understand how camera angle affects perspective, you have to understand something called ‘eyeline’. You might already be familiar with it.

Eyeline is where a character’s eyes and face are looking. If you draw a line straight out of a character’s eyeballs into the distance, then it would be a literal ‘eye line’.

For example, here are two shots that play directly after one another in the short film “Destination” I created for my post-apocalyptic, sci-fi universe Esotera. Go to 3:06 to see the shots I’m talking about.

Coincidentally, I shot this film on a Canon Scoopic 16mm, so if you’ve ever thought you’d like to try shooting a project on film, you might want to learn about the pros and cons of shooting on film.

Your camera angle determines how close you are to the character’s eyeline. This is important because…

Closer to eyeline = more personal and intimate

Farther from eyeline = more detached and impersonal

So, if you’re looking straight into the eyes of a character, that’s pretty dang intimate. If your looking at the back of their head, or in profile, it’s significantly more impersonal.

The shots above from my film “Destination” are somewhere in the middle.

They are fairly neutral – which fits because these characters are skeptical of each other. They are strangers in a hostile wasteland.

Using perspective to tell your story

Let’s say you want to make your audience feel emotionally close to a character (and this can change from scene to scene or moment to moment). Select a closer shot size. Make the camera angle closer to the character’s eyeline.

Or do both, if you like. Really put the audience inside your character’s head.

Maybe you want to make the audience feel like an intimate friend who is observing this character. You don’t want things to feel quite as intimate as a camera angle that looks straight-on at this character. So go slightly off eyeline, but not too far, like I did in this scene from “Inversion”.

If you want the audience to detach from a character, even for a moment, pull away from the character. Use a shot size where the character is further away; smaller in the frame. Don’t select a camera angle that forces the audience to look at the character in the eye – keep the camera further from their eyeline.

Anyway, I hope you get the idea.

There are a ton of ways you can play with shot sizes and camera angles–two important aspects of perspective–to tell your story.

Perspective in a nutshell

1. How close you are to the character (shot size / proximity)

Closer to character = more personal and intimate

Farther from character = more detached and impersonal

2. What angle you see the character from (camera angle / angle of view)

Closer to eyeline = more personal and intimate

Farther from eyeline = more detached and impersonal

I highly recommend that you try out different perspectives and techniques whenever you can. See how they turn out. They won’t always work like you thought they would, but that’s part of the learning process.

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Directing, Leadership, Self-Development

19 Attributes You Need to be a Great Film Director

By on

August 8, 2019

- Directing, Leadership, Self-Development

A filmmaker – a great director – is more than a guy or gal who makes a movie.

Regardless of a feature film’s budget, a great director has many admirable qualities. Each director has their own strengths.

Do you possess the qualities of a great director? Where are you weak? Where are you strong? Where and how can you try to improve yourself? We can all work on strengthening our weak areas while further increasing our strengths.

Self-improvement is key to being successful. Those who fail to adapt and grow are always outstripped by their competition.

I wanted to share some attributes that successful people, including leaders, mentors, business owners, and filmmakers, share in common.

(Note: I have an important update at the bottom of this article, so keep reading to the end)

Personal Attributes

1. Stress-Tolerant. A great director can roll with the punches, be cool in a tough situation, and still make the decisions needed while under pressure. They don’t crumble under stress and have healthy stress-coping mechanisms in place.

2. Flexible. A great director is open to new ideas so they can make the best film possible. They don’t turn their nose up at ideas that could make the film better. The director doesn’t always have the right answers and has to rely on many professionals, including actors, crew, and other collaborators to advise him/her.

3. Positive Attitude. Great directors aren’t self-obsessed divas. They’re leaders of a team. Everyone on set looks to him/her to set the standard for behavior. If the director is always gloomy, pessimistic, has low morale, etc., so will everyone else on set.

A great director is mindful of this and sets the example (see ‘leads by example’ below).

4. Uses Time Efficiently. A great director has no time to waste—there’s a movie to be made, and time is money! Great directors understand the value of time and uses it properly. There’s a time for everything. If it’s time to rest, they rest. If it’s time to work hard, they work hard.

They try to maximize the time they have available.

5. Knows How to be Diplomatic. Great directors didn’t get where they are by treating people poorly when they were in a bad mood. Great directors have self-control and can deal with people cordially, even if the situation is frustrating or someone is being unreasonable.

The great director understands that you can’t always take a sledgehammer to an issue and call it a day. Sometimes you need to use more delicate tools; approach people with finesse.

6. Knows When to Speak Up (or Shut Up). This is basically an extension of being diplomatic. Sometimes that thing you really want to say, you don’t say. The great director knows this and exercises restraint in what he or she says.

7. Thinks Outside the Box. The great director doesn’t feel constrained or threatened by others creative ideas/input. Instead he or she uses them to his or her advantage. The great director is willing to try new things and take risks to get great results instead of only okay results.

8. Problem-Solver – Not a Problem Creator. There are those that focus on pointing out problems, often in a complaining manner. They want to be the first ones to point it out but don’t offer any solutions. There are also people who create problems where none need exist. This is counterproductive.

The great director identifies problems before they occur and current problems, but he or she never walks away without offering one or two solutions. The great director is always working to move the team forward one step.

He or she doesn’t unveil a brick wall in the path, only to walk away and tell others, ‘good luck’.

9. Takes Responsibility. The great director understands the distinction between fault and responsibility. He or she understands that everything that goes wrong or right about their film (as the leader of the filmmaking team) will be attributed to the director.

The great director accepts the risk and possible reward, his or her own mistakes, and always works to correct them without blaming others, because it is a waste of time to play the blame game.

Lastly, the great director isn’t afraid to attribute a ‘job well-done’ to members of the team that deserve recognition for their good work.

Relationships & Communication

10. Focuses on Fostering Relationships. The great director got where he or she is because he or she understands that business is largely about relationships. Therefore, the great director spends time building genuine relationships with a variety of people.

He or she networks, meets lots of people, and stays in contact with many of them regularly.

11. Communicates Effectively. The great director understands that communication is absolutely essential to efficient and pleasant working conditions. He or she has spent a lot of time learning these skills and making sure he or she communicates as clearly as possible at all times.

12. Motivates and Inspires. The great director inspires people to give their best effort, even when they aren’t feeling energetic or particularly invested. Their passion is contagious.

13. Creates and Shares a Common Vision. The great director knows that creating a strong vision and sharing that with his cast and crew is important step for inspiring people’s commitment and best work to a film.

The director does this through multiple methods, including doing thorough director prep, creating visual references, and more.

14. Leads by Example. The great director understands that leading teams to make great films requires sacrifice and hard work from everyone, and so he or she does what it takes to set the example of how others should behave.

He or she is always the first one on set, ready to work with coffee in hand, and the last one to leave set.

Storytelling Skills

15. Understands the Filmmaking Fundamentals. The great film director understands why they say, ‘you need to know the rules before you can break them’. Only then can you break the rules in order to get specific, desired results.

If you don’t know why you are breaking a ‘rule’, then you’re just shooting from the hip. You don’t know what you are doing and can’t predict the result. That’s fine on a passion project, but if there’s any money at stake, you should be surer of what result you will get.

Additionally, understanding the fundamentals will help you communicate and work with your crew since you’ll speak their language.

The great director knows many of the great number of storytelling tools at his or her disposal—both the technical and creative. He or she is familiar with them and can mentally flip through that toolbox to make great directorial choices.

However, the great director is always open to new techniques and isn’t afraid to lean on the expertise of the crew.

16. Understands Real Human Behavior. If one doesn’t understand how people react in real life to various events, how can one portray them believably on film? A great director can anticipate how someone might react in a real-world situation and transplant that into the fiction of his story.

Especially if the director is young and relatively inexperienced, he or she tries to experience the world and examine human behavior in order to learn.

17. Understands Film Conventions. It’s not enough to know about how people actually act in reality.

The great director knows that reality is sometimes perceived differently than the equivalent in film, and can adjust how he or she presents events, conversations, and storytelling techniques in order for the audience to see what he/she wants them to see and feel what he/she wants them to feel.

The great director understands various film conventions, from the most broad (genre) to the very specific (grenade explosions in film versus reality).

18. Can Walk in Others’ Shoes. The great director knows how to create believable performances from a variety of characters and perspectives because he or she understands how people tick, and has enough empathy and creativity to put him or herself in others’ shoes.

19. Understands How Humans Learn. The great director understand that film story arcs (and stories in general) mimic the process in which humans learn (deep personal flaw, inciting incident, ensuing struggle, a realization, and finally, change or growth), and applies that to his or her films in order to create believable characters and moving stories.

No one starts out with all these traits / skills / knowledge.

I’d like to add that no director knew all these things when he/she got started—or even many of them.

So don’t freak out. If you don’t possess the above qualities, you can learn them. We all have room to learn and grow.

If you aren’t sure where to start learning and growing, read this article for specific tips that will help you become a movie director.

The process of making films will help you grow as a person and over time you’ll get better at doing it.

Additionally, you should go out of your way to find and spend time around people who have the above qualities. The people you spend time around affect you greatly.

Personally, filmmaking has been one of the best things I’ve ever pursued. Along the way, I’ve learned many life lessons. If you haven’t yet, I’m sure you will! Get out there, learn to be a better Human, and make great films.

UPDATE:

Since the film industry is changing, it is more important than ever that filmmakers that want to direct their own work and make money from it need to understand the following key skill…

Audience building.

For the modern indie filmmaker, knowing how to build an audience is an absolutely essential skill, because the harsh truth is that most people never make it to mainstream Hollywood success. But that doesn’t mean you can’t make work you care about and make money from it.

Filmmakers have always been subject to middlemen in this industry, but affordable equipment and the internet changes that. All the tools are there – we just need to learn how to use them. This involves understanding how to tell stories for a niche audience, build excitement around your content, and design a method for selling your films to your audience.

So if you are interested in learning how to build an audience and make income from your filmmaking work, I personally vouch for the skills taught in the Film Audience Accelerator course by Rob Hardy. If you want to hear my explanation on why this is one of the best set of skills you should learn right now, you can go here.

If you want to skip that, go straight to checking out the Film Audience Accelerator course.

Stay strong and focused, fellow Storyteller.



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