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Fresco of Approving of bylaw of Society of Jesus depicting Ignatius of Loyola receiving papal bull Regimini militantis Ecclesiae from Pope Paul 3. This group bound themselves by a vow of poverty and chastity, to "enter upon hospital and missionary work in Jerusalem, or to go without questioning wherever the pope might direct". They called themselves the Company of Jesus, and also Amigos En El Senor or "Friends in the Lord," because they felt "they were placed together by Christ." The name had echoes of the military (as in an infantry "company"), as well as of discipleship (the "companions" of Jesus). But first, I want you to understand this: I am NOT some money-grubbing video hack recycling out-dated generic info for outrageous prices to unsuspecting would-be filmmakers. I am a passionate life-long filmmaker and educator who loves teaching and helping other filmmakers. Film and TV projects Ia€™ve made have been screened at the Tribeca Film Festival, Slamdance, and on MTV and The Education Channel.
I am currently the Production Center Manager and an adjunct professor at NYU-Tisch School of the Arts, one of the most renowned film schools in the world, where I instruct grad and undergrad students on everything from lighting to audio to camerawork and other practical production strategies for pulling off their creative vision regardless of their budget or previous experience level. Even with a family and full-time job I actively devote a huge chunk of my time to helping up and coming filmmakers. Unlike the money-grubbing video hacks peddling whack digital downloads across the Internet, I actually want you to succeed, so Ia€™m not gonna B.S.
100% real-world illustrated practical instructions on the tangible and intangible things that can help you make your film and video projects with less mistakes and better end results regardless of your budget. 296 glossy full-color pages featuring 500+ clear full-color photos and diagrams in a real soft-cover book.
This isna€™t one of those cheesy low-budget fly-by-night digital downloadsa€¦this is a glossy full-color soft-cover book, packaged with a professionally produced Bonus DVD that features a one-of-a-kind video DVD tutorial on recording better audio that has received univerSal praise for ita€™s clarity and usefulness.
This entire book and DVD package has been professionally edited, designed, laid out and perfectly-bound by the worlda€™s leading publisher of technical film and TV books,Focal Press .
This is a book and DVD of purely practical advice and technical instruction from the deep trenches of guerrilla filmmaking. If youa€™re busy trying to launch a film, I know that you dona€™t have the time to read between the lines, so I took more than 2 years out of my life to catalog and illustrate the filmmaking process and write The Shut Up and Shoot Documentary Guide to break down the things you most need to know.
Thata€™s just the useful information that Ia€™m providing, but even after 15 years in the game, I dona€™t know everything (far from it), so I reached out to gather more practical wisdom and advice some of the most respected, experienced and talented filmmakers and experts in the industry to ask them to fill in my blanks by giving you their candid advice in pages entitled Been There, Done That, that are dispersed throughout the book by topic. Who are just some of the diverse respected and talented filmmakers who have contributed their vast filmmaking wisdom and knowledge to this book? John is an world-renowned animation historian and Executive Director of Animation of NYUa€™s legendary Tisch School of the Arts. Adrian and his brother Rocco, shot their documentary, Genghis Blues, on a Hi-8 video camera in the rugged mountains of Tuva. Many of these name-brand indie filmmakers have been nominated for (and even won) Oscars and won more major awards, festivals, and accolades than I could hope to list. In the 15+ years Ia€™ve been making film and TV, Ia€™ve wasted many precious hours (actually days) of my life reading i??between the lines of some overwhelming film book, trying to find and decipher the few kernels of real information that were actually relevant to helping me make my projecta€¦I rarely found the practical info I needed and hardly ever in a single book. In The Shut Up and Shoot Documentary Guide Ia€™ve gone through great pains to make the complicated and confusing process of filmmaking easy and clear for you to understand and more importantly, execute.
Long after you begin to master the craft, the Shut Up and Shoot Documentary Guide will serve as a continual illustrated reference guide to the thousand little technical and procedural details you need to recall to pull off a film. Not only that, but this book will help you avoid the most common filmmaking mistakes and give you the technical know-how, insider tips and confidence to capture your vision regardless of your budget.
In addition to that, ita€™s gotten more positive reviews and endorsements from active blog writers in and around the filmmaking community, such as Making The Movie, Irascible Ian, and The Blog Columnist. This partial list includes some of the most prestigious names in film education on either side of the globe and they have adopted this book in the classroom for one reason and one reason only- ita€™s helping their students to make better films. I want you to take the word of the many happy customers who already own The Shut Up and Shoot Documentary Guide. This price is much lower than other filmmaking products on the market and even 20% lower than the retail price printed on the book.
Youa€™ve heard it all from me many times before, so Ia€™ll spare you the lengthy tutorials (and just link to them at the end of this page). I know, I know, Ia€™m a freak, in that this is one of my pet issues and I have a really sharp eye for it. There are tutorials (which I will link to) which will explain how to tell a widescreen DVD vs.
I think thata€™s what throws off some people when it comes to noticing incorrect aspect ratioa€”the images we see in photos and videos are full of details and things set at different angles, and sometimes it is easy to miss that the overall shape of something (whether it be the shape of a persona€™s head, or the roundness of a clock face, or the shape of a box) is not quite right.
When faced with something unusual going on with your video clips, please remember to think and also to ask yourself, a€?Does this make sense?a€? and a€?Whata€™s going on here?a€? before forging ahead and editing your video anyway. You should be thinking, and questioning, and asking, rather than importing any old clip into your editor and editing away. Are Some People Just Visually Dull?: And yet another blog discussion expressing puzzlement over this issue. Aspect Ratio Fail: Another blog discussion, another group of people wondering what is going on and how to stop it.
Keywords: Fan video, vidding, vidders, frame dimensions, AR, tutorials, fanvid tutorial, squished, proportions, aspect ratio.
Ignatius of Loyola, who after being wounded in a battle, experienced a religious conversion and composed the Spiritual Exercises to closely follow Christ. The fresco was created by Johann Christoph Handke in the Church of Our Lady Of the Snow in Olomouc after 1743.
Nor am I one of these guys who made a single lame little film that never saw the light of day and is now claiming to somehow be able to give you everything you need to take on Hollywood with a dollar and dream. A feature film I produced was covered on the front page of both The Hollywood Reporter and Variety when it took the top prize at the prestigious 2003 IFP Film Market in New York City.


As a service to the indie film community I provide tons of helpful original information in the form of a free filmmaking blog, podcast, email newsletter and Ia€™ve even donated thousands of dollars of this product to several filmmaking non-profits organizations that serve teens.
I do them because this is my art, craft, and passion and I want to share the many things Ia€™ve learned (and am still learning) and do my best to inspire you to pursue and persist at filmmaking. These are just practical straight-up answers that every filmmaker will need to know sooner or later- all explained clearly, in plain English, step-by-step.
They are self-taught and challenging the traditional notion of film distribution with innovative new models.
Ita€™s an easy and humorous read and written to inspire and motivate you to pursue your vision regardless of your budget or experience level. Not only that, but there is absolutely no-risk for you whatsoever, because just like the filmmaking instruction, the guarantee is no B.S. A passionate storyteller, Guthrie has the unique ability to take hours upon hours of footage and sew the necessary pieces together in order to create stories that flow seamlessly on screen. I just wanted to share a few thoughts about this, maybe in an attempt to make things clearer (or maybe just to ramblea€”this is my vanity site, after all). Some of you probably roll your eyes and wonder what the big deal is, while many others secretly are glad that someone is insane and obnoxious enough to finally bring this whole thing out into the open.
So, another way to help yourself see aspect ratio is to stop and look harder, and try to see the simple shapes, and not all the complexities.
Thata€™s right, that middle image (representing a video clip) is much taller and boxier in shape than the other two. This is often the case (but not always, which is why you need to do a little investigating to confirm it one way or another).
Do not tell yourself, a€?Thata€™s just the way the clips came to me, so they must be right.a€? You need to confirm that your software settings are correct, and that youa€™re processing your clips from the DVD properly.
Other than to repeat (to those of you who are hard cases, LOL) that it can be really annoying to see something (like your favorite actora€™s face) all distorted. And they are all giving perfectly candid, concise and practical advice on everything from funding to storytelling to ethics throughout this book. But because they are more elaborate, with lots of textures and goodies to look at, you sometimes lose sight of the fact that . So you import your clips into your video editor, and you get this (images represent the clips in your video timeline). So, when you try to edit this clip in with the others, you know youa€™re going to either have to crop off the top and bottom of that one clip, or youa€™re going to end up with a video with black letterbox bars at the top and bottom of some clips, but no black bars on other clips. Even if you cana€™t tell when an image is distorted (a€?squisheda€?) or not, you can tell when there are borders in some clips but not others, and that should be raising a red flag for you. And just so you know, no, masking off pesky black bars or cropping them off is NOT a solution for fixing bad aspect ratio. Ita€™s not my fault, and Ia€™m not alonea€”a lot of other people have no sense of direction as well. His background in music has endowed him with an astute sense of rhythm and pacing, which has been invaluable in his work as an editor. BOD (the guy in this YouTube video) is notoriously cranky and somewhat contemptuous at times, but he brings up a lot of good points about why getting the aspect ratio wrong is annoying. You match your fan videoa€™s settings to that DVDa€™s aspect ratio, and there you goa€”perfect aspect ratio every time. After spending a bunch of years as a musician in a band I decided I wanted to get into the film business but didn’t know what to do, so I got a job at Rhombus Media as a receptionist and worked the front desk for a year.
I have no idea what people are talking about when they claim they can a€?feela€? what direction they are facing. If you are truly serious about filmmaking and looking for a better learning resource, therea€™s nothing more to say or to do except buy this book and Shut Up and Shoot!
One day one of the editors was coming in to work late on a project and someone had disassembled the edit suite. There was no one else around so I offered to help him get it back together, his assistant editor was nowhere to be found so he offered me a job as an assistant editor and said he would train me up.
Besides, a lot of times those who dona€™t notice distorted aspect ratio at first can start to become more sensitive to it in time. But, I still manage to get around, mostly by analyzing what time of day it is, and what direction the sun is coming from. I did that for a year assisting on a few films, then Jiro Dreams of Sushi and then Billy Bishop Goes to War.
But I have to really think about ita€”stop and think about ita€”and use other tricks or guidelines to get around. When I was in the band we needed a music video so I taught myself how to edit and took some home videos from one of our tours and cut them together. All of my training has been through working with talented people I never went to school for this – it didn’t seem like I needed to.
Every job I’ve worked on I learned more and more – I’ve been so fortunate to work with some of the best directors and editors in Canada and each one has taught me something different.
Can you describe some of the projects you’ve worked on and some of the challenges you’ve faced? That is the biggest challenge of the show by far– trying to cut compelling scenes out of hours of monotonous footage.
We were creating the style of the show as well, so the first episode was definitely another challenge. I was cutting scenes for multiple episodes each week sometimes I was cutting a different episode. That was a challenge too, trying to keep track of where I was in each story and how each scene developed the overall story arc.


We were filming with some new boats that year and we had to figure out how each new captain’s archetype would fit into the show.
As you start to watch hours and hours of raw footage you realize that there are many repeating scenes that happen out at sea, this thing breaks down, the fish get away etc. Halfway through the season one of our captains decided to stop fishing and work on his boat, which was a major blow. We had to scramble and reinvent the format of the show so that we could at least keep in a fishing show where he isn’t doing any fishing.
This means that I was one of the lead editors on the show and responsible for bringing episodes to delivery to the network. The challenge of this edit was not having an assistant editor so I had to do all the audio syncing (the audio and video are recorded separately, so an assistant editor usually has to put them together before the editor begins cutting).
I had to try and remove myself from the project and not to have bias in my own performances. In the end the film was an official selection at the New York Television Festival, and it led to us entering the pitch completion at the festival and winning a development deal with the Gannett Network. I love the whole story telling process from writing right down to editing – so being a part of all of it has been very fulfilling.What tools do you use to edit? Most of the skill in editing comes from making creative decisions, what shot to use where, what music tracks to use, the pacing, rhythm etc. The differences between them are noticeable when you have a large project with lots of people using them. There are 20-30 people all cutting from a huge amount of footage and Avid is really the only one that can handle that. You try a hundred different tracks of music and none of them are the right one and you just don’t know why and then you find the one that works and you just know, you can feel it and then you cut it in and the whole scene comes to life.
Or when you really tap into the emotion of the scene and you are feeling the same feelings that the characters are feeling, you have to go to that place – cause then you know how to pace the scene correctly and how the audience will feel. What is your specialty in the field?DG: I have a knack when it comes to finding story threads in a massive amount of footage that seems unrelated. You can give me hundreds of hours of footage with no direction and I can sift through it and find the story thread.
Having a writer’s approach to editing has always been my strong suit, as well as having a music background. Once you get the footage, where do you start?DG: First I watch everything, or as much as I can. A lot of editing is problem solving so you need to know what ammunition you have to work with. Then I try and make it make sense visually and logically, I don’t think you can affect the audience in any emotional way if they are confused. Once it makes sense, then comes the real fun part– making it beautiful, and seamless. But it is all is built on the vibe.What is the collaboration process like in terms of working with the other departments on a project?
It’s really difficult sometimes to sit in a room by yourself and see if you are heading in the right direction. If you are working with someone you trust you can bounce ideas off of them, screen cuts and gauge reactions. Usually I work in tandem with a story editor, they will write the scenes and we will work together towards a cut we can show the producers. Documentaries can take a year.I’ve heard people say an editor can be sitting at their computer for up to 14 hours a day working on something—is this accurate? But generally I think if you work when you are tired you’re just moving backwards and creating more work for yourself.
DG: I’m currently working on a comedy series, “Beck and Call,” about two talent agents struggling to make it in Brooklyn. It has been so much fun working with really talented people and just making stuff that we want to make and not having to conform to any network notes! I just want to keep getting better and working with talented people and go with the flow.What would you say was your first foot in the door to the industry? I decided that I would just get any job in the industry and see if I could navigate my way up so that in four years (when I would have graduated school) I would be better off than if I went to film school.
I asked everyone I knew who knew anybody hiring in the industry and finally I landed a job as a receptionist at Rhombus Media, a production company.
I worked there for a year and a half when I got the opportunity to be an assistant editor – I did that for a couple of years and just moved my way up. My advice to aspiring artists would be to get real world experience – intern, intern, intern. Be good at your job, be yourself, and don’t be desperate – trust that the opportunities will come if you work hard. We provide amateur, apprentice and professional journalists with the digital tools required to reach a local or global audience.GroundReport provides a platform for you to observe the world around you and to share your knowledge with others. Please consider participating as a reporter, and if you like what we stand for, please consider making a donation.



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