DIY - Film School

Essential Film Skills Needed For Success

John Holser
1st Edition

Introduction .........................................................3
Seeing From a Hindsight POV. ........................................................................................3
Success, As I’m Framing It. ............................................................................................. 3
The Real Question is “How Bad Do You Want It? ...........................................................4

Make Them Cry ...................................................5

Do You Have What it Takes to Make it As a Filmmaker?  ............................................... 5
Erase the Doubt. ...............................................................................................................6
The Grit and Strategy Formula. ....................................................................................... 7

The Trouble Starts .............................................8

We Fail to See the Process Behind the Goal. ..................................................................8
Are You a Dreamer or a Doer? ........................................................................................ 9

Film School’s Best Practices.   ...........................10

Film Schools Do a Lot of Things Right. .........................................................................10
Filmmaking Skills. ..........................................................................................................11
Film School Weaknesses. ................................................................................................ 12

The Backyard Filmmaker   .................................13

The Fork in the Road.  ....................................................................................................15
Develop Objectivity With Your Work. ...........................................................................17

A Hybrid Approach to Film School  ..................18

Rapid Skill Acquisition. ..................................................................................................19
The Film Industry is Looking for Skills. .........................................................................21
Being Really Good Will Create New Opportunities. ......................................................21
Going Vertical for Success .............................................................................................. 22
Introduction

I took the long road to a successful filmmaking career. Unfortunately, I had to learn many
things the hard way. Fortunately, I didn’t give up.

I’m writing this book for my past self and for

you, if like me, you’ve got a burning desire to fill
your life with purposeful filmmaking.

I’m writing for the young me, who had plenty of

energy, plenty of desire and could self-teach
himself most anything he set his mind to.

I’m writing this because in the beginning of any

important journey our biggest obstacle is, “We
don’t know, what we don’t know.” This is
why “Hind sight is 20x20.”

Seeing From a Hindsight POV.

Most of my missteps we’re a result of blind, passionate momentum. In hindsight, I can see
from a more strategic perspective the mistakes that could have been avoided. Had I started
on the right foot, and had a proven structure to follow I would have expelled far less energy
and gotten the same end results even faster. From a
hindsight point of view, this is common sense.

Structure and guidance is why people go to school, study

with mentors, apprentice and actively seek knowledge
about the the things they “know” they don’t know.

This little ebook is about helping you find that knowledge,

and with it, develop a self-directed learning and practice
structure that will support a purposeful life of filmmaking.

Success, As I’m Framing It.

The end result I’m referring to when I say Me Directing Jimmy Fallon in “Donkey Boy”
“having achieved success” is defined by
directing and or shooting, critically acclaimed films, working as a commercial director, music
video director or doing fulfilling work in the film and video industry.

This book will convince you that these goals are achievable by developing and leveraging
specific skills. You may have doubts right now. That’s ok. It’s even normal.
But just for now, ride on my belief in this proven process. If you hang with me for a bit - I’ll
prove it to you! Once you go a little deeper and experience just a little of this, you’ll realize
it’s not rocket science.

I believe 100%, that you can do it. Why? I believe, because I’ve done it. And, well…I know a
few things you don’t. Not because I’m smarter then you, or because I went to film school or
can magically download the success formula into my brain. I wish it was that “Matrix” easy ;)

I know this works because I’ve used this process to

structure my growth and make a good living
traveling the world, making high-end commercials,
documentaries, shooting films and teaching.

I’ve directed Jimmy Fallon, Sean Astin, worked

along side the likes of Stacey Keach, Jennifer
Hudson, John Mellencamp and more.

I’ve shot in Africa and have been hired to direct in

Spain, France and the Hawaiian Islands.  

Not bad for a small town boy who dropped out of

community college.

I believe with all my heart that you can do this. Why? Because I know it has very little to do
with talent and everything to do with strategy and grit.

The Real Question is “How Bad Do You Want It?

Actually before I go on, I should admit to an assumption I’m making. I’m assuming that you
really, really want this. Do you? Do you want to play at filmmaking or do you want to make
meaningful films?

Do you want more laughs, more tears, more

video views, more recognition from more
fans. Or maybe a well paid career in film,
television, advertising or corporate video. 

Do you want it bad enough to step outside

of your comfort zone?

If you do, please read on. You’ll find this

ebook enlightening, relevant
and inspirational. 

It’s time to take the next step!


Chapter 1

Make Them Cry

Do You Have What it Takes to Make it As a Filmmaker? 
The better questions are:
What does it take?
Will you do it?

When I use the word filmmaker, I’m

referring to the person who has the idea
for a film, is involved with writing the
film, directs the film, is involved with
editing and making sure the film is seen
by an appreciative audience. 

When I say succeed, I’m talking about

being able to direct a film that hooks the
audience from the start, brings them to
tears when needed and keeps them on
the edge of their seats wondering “what
will happen next?”

To do this, the backyard filmmaker may need to write, produce, direct actors, shoot, record
sound and edit by herself. It’s possible, but it’s a lot to ask of one person.

To consistently achieve long term success, a director must collaborate. On larger films the
director collaborates with department heads and might have a crew of up to thirty people.

Successful filmmaking is a process. You are a part of it, but you can’t be all of it.

Success in this arena means having the

right skills and knowing your job well
enough to lead your cast and crew into
and through a complex project.
 
If you don’t see yourself as a leader, don’t
worry.
Confidence comes from vision.
Ok, let’s get the right perspective.
Erase the Doubt.
There are too many success stories not to believe that you can make it.

You don’t need to be rich, a genius or especially gifted. If you do a little research you’ll find
that working directors are everyday people who’s world was changed after watching a movie.
For George Tillman jr it happened when watching Colley High. 

"As a young kid, I loved watching

old movies. My time was always
spent watching television and
wondering what the rest of the
world had to offer..” "My world
changed when my church took the
youth program to see a movie..”
"That movie was Cooley High,
1975.” "That movie changed my life.”

George Tillman jr., Director/Screen Writer/Producer, Soul Food, Men of Honor, Faster

“I looked around and saw people crying, laughing, smiling, and applauding at the end of
the film. I was taken aback by the power of cinema, and how it changed people’s
perspectives and emotions."

Can you think of when this happened for you?

What movie was it? If you’re willing, please send me a

quick email and tell me what movie it was. Let me know
where you were and describe the experience.

This little exercise will do two things. First, and

most important is it will help you get in touch with
the core of your filmmaking desire.

Second, It’s a great exercise in "point of view” writing.  Consider it prep work for a mini-
short screenplay. It’s all about putting feelings into words and on the screen. 

For me it was the movie “Deer Hunter.” That film got to my soul. I’ll never
forget how silent everyone was walking out. No chatter, just mind blown
silence. The next film that rocked my world was El Mariachi. I had previously
never considered making a film. Maybe commercials, but not films. I went
into the theater a spectator and came out on-fire and ready to shoot. 

The Grit and Strategy Formula.

I hope we can agree that it’s not someone’s “born-talent” that determines if they will have
success in the film and video production industry. Can we agree?

The questions we must unpack are; What does it take?  Can we develop an edge?

This is the growth mindset we must, absolutely adopt.

Turning dreams into reality, takes grit and strategy. If
you can sustain grit long enough strategy will appear.

The saying "Nine times down, ten times up!” is all

that counts. Only when you’re sick of getting knocked
down, again and again, will you become motivated to
find a way to spend more time standing.

Getting back up takes grit, standing longer takes strategy.  

That in a nut shell is the theme to this entire ebook. If you acquire the right skills, “strategy,”
and sustain a concentrated effort, “grit,” over a long enough period of time, you'll succeed.

(Skill x Effort) x Time = Success

Reflect on that claim for a moment and see if

you can prove it wrong. If you think it’s hype
then email me with your thoughts. I promise I’ll
read and seriously consider your perspective.

Now, I’m not insane, I know some obstacles are

so unsurmountable that they are just about
impossible to overcome. Being five foot two in
the NBA is a huge disadvantage, no doubt.

But filmmaking has almost no such barriers

today. Cameras and computers are cheap. Even
if you can’t shoot right now, you can
write. Everyone can write! Good films always
start with good story.

In some ways the more difficult your life has been the more you have to say in your films.

Good stories are always about overcoming obstacles. Have you had any hardship? Write
about it. Let the hardships and the triumphs influence your creations. Build on what lives
inside you. Everything else is strategy and grit! If there’s and edge to be had, that’s it.
Chapter 2

The Trouble Starts

We Fail to See the Process Behind the Goal.
It’s human nature to look at success as an event. But, from from the start we’re in trouble
because we see the result and are blind to the process behind the result.

When we’ve never done the “thing” before we tend to see our destination from the distance.
It’s abstract. It’s the view from the top of mountain’s peak - having already arrived.

What we don’t see is the forest at it’s base, the mud, mosquitos and steep rock face. We don’t
feel the blisters. We don’t see the process of
filmmaking.

Our job is not “to be successful,” that’s to

abstract. Our job is to do the work and prepare
for the journey. Put one foot in front of the other
and keep walking. That’s all!

Preparation starts with questions.  

• What does long term success for me look like?
• How will this support my long term goal? 
• Is there an established path to success? 
• Is this a showcase or learning project?

It’s fine and important to dream about being a

successful filmmaker, but that’s abstract and empty without a plan and active doing.

How are you going to get there if you have no experience and no map?

You think you know the way, but it’s really easy to get lost in the forest and overwhelmed
when it’s time to scale one more rock face. How many times can you get knocked down, how
often can you get lost, how many obstacles can you overcome before you quit.

Will you get knocked down eight times and only rise seven?
Are You a Dreamer or a Doer?

Do you believe that talent (T) trumps skill & effort (S x E).

As beginners 0f any craft, art, vocation or sport “we don’t know, what we don’t know.”
We’re high on desire and can see ourselves victorious, standing on the peak. The movie in
our mind plays the highlights and skips the details. It’s abstract, like a montage or time-
lapse.

Most of us will never admit this, but down deep we often feel we’ve got something that others
don’t. We think we’re special, that is until we hit a really big obstacle or a few in a row and
then it’s “the other guy who’s special.” It’s his talent or his access to better equipment or
good looks that made the difference. It’s not. We’re not.

We’re not special in the way that means our “talent” is why we’ll succeed. In life “special” is
the person who is willing to work hard and leverage strategy over a long enough period of
time to succeed.

We don’t fail because we haven’t got what it takes. It’s not because other’s have the talent
and you don’t. - - That’s bullshit!

Quite simply, you fail to succeed as a result of these obstacles. 

•Lack of Vision 

•Lack of Knowledge

•Lack of Skill

•Lack of Motivation

If we want to stay standing, we need to work smarter and harder.

Chapter 3

Film School’s Best Practices.  

A lot of people say film school is a waste of time. It’s not.

Film Schools Do a Lot of Things Right.

To start, film schools are responsible for the majority of working directors. Statistics show
that film school graduates direct the majority of films that make money and or achieve
critical recognition. (By critical recognition I’m not talking about small town film festivals.)

Film school immerses you in learning

theory, building skills and practicing for
four years. This likely means you’ll develop
good study habits, practical problem solving
skills and you’ll meet plenty of like minded
people.

You’ll definitely get consistent feedback

from your professors and peers.

A good school can be a pressure cooker,

forcing you out of your comfort zone for
long periods of time.

Film School can be the place to experience small failures and learn not only how to get back
up, but with the help of good teachers, you’ll learn how to stay standing longer.
So, it’s fair to say, “you’d have to be “stuck on stupid” not to have marketable directing,
shooting or production skills at the end of the film school process.  Just sayin-:)

A good film school will allow you to:

• Immerse in study and practice full time

• Surround yourself with mentors

• Adopt a proven learning structure

• Access the latest equipment

• Tap into a supportive community

• Stay focused over long periods

• Become accountable to others

Yup, a really good film school offers a lot and it’s also a very, very expensive. The top ones
are two hundred thousand dollars for four years.

By the way, when I said "marketable skills” above. I’m talking about the tangible skills
needed to complete a film project or get hired as a director, shooter or producer on film,
television, high-end commercial or corporate marketing video project. 

Success in the film industry is a result of developing skills.

Filmmaking Skills.
Skills are the building blocks that become steps and platforms upon which you’ll climb
vertically up the opportunity ladder
to the next milestone success.

If you expect to see high-end

success, learning and practicing
must start now and must continue
after film school!

For this to happen you need skills.

When you have skills, you get

hired, get paid to work, and when
you get paid to work, you get paid
to practice and learn more.

See how that works? It’s pretty cool. Stay with me and I’ll tell you more about that process.  
Film School Weaknesses.
The biggest problem I see
with film school, besides its
cost and being an outdated
learning model, is it takes too
long to get rewards. 

In traditional film school,

student’s spend too much
upfront lecture time learning
theory. Without practice and
real world feedback, too much
theory limits how much a
student retains.

I think this model is a leftover from the days when film cameras & film stock were limited
and expensive. Experimenting was expensive. To minimize this expense students didn’t get
to create films until the second and some times the third year. 

Equipment isn’t expensive anymore. Starter equipment is down right cheap. By the time
most students enter film school today, they’ve already shot and edited their own projects.

Some schools are adopting a better, skill based model.

A better model is one that requires students to work on projects that apply theory and
develop specific skills simultaneously.

Success and failure are measured by how well both film grammar and the execution of the
skill set was represented within the filmmaking exercise.

If the exercise and upfront learning is focused on “directing performance,” we don’t care if
the lighting was any good, Lighting is a different exercise, with a different set of skills.

The more projects a student works through, the more they also develop problem solving
skills. You don’t learn that from lectures. That comes from having skin in the game.

Obstacles come up in abundance on every production and they’re expensive. Overcoming

them might be the best skill a student can acquire. Big money goes into making films which
means and “big-money” and “big-time” can be saved by people who know how to solve
problems before they arrive.

Are you seeing opportunity yet?

Chapter 4

The Backyard Filmmaker  

At this point we can conclude that if we have a couple hundred thousand dollars, four years
of film school, and we’re not stuck on stupid, we’ll likely get an entry level job where we
might get to practice some real filmmaking skills. A few lucky ones may get a chance to direct
something big. To me, that sounds like a lopsided investment?

What would you need to make each month, just to pay off student loans on $200,000. My
wife had big student loans, so I know. We we’re paying $1,500 per month on a $200,000
loan. So, let’s just say you’ll be paying $1,700. Oooouch! That’s an impossibly, big anchor if
you want the freedom to make your own films when you get out.

Film school should be a sail not an anchor.

For most of us film school just doesn’t make sense. It definitely doesn’t make sense if you
have a little discipline and can self-direct your way to better skills and new opportunities.

Here’s the deal.

If you want to make high-end films,

commercials and story driven web videos that
win awards, you need” film school
knowledge.” Not film school.

You need proven methods. It’s a fact. 

But what about the backyard filmmaking?

Yup, that’s kinda where I’m going.

For backyard filmmakers, learning comes from making films.

This is a very valid approach, but it takes a special person to follow this path to real results.
You must have the foresight and discipline to design your backyard films as learning sessions
that leverage theory and best practices. Most BYFs aren’t that deliberate. Big mistake!

Most BYFs mirror other directors and wing it. They learn a lot about what they don’t know, a
small portion of the production mechanics and almost nothing about the “why.” The “why” is
incredibly important, it’s the spine of story-motivated, high-end productions.

“Winging it” and mirroring the work of others is a inefficient process based on trail and
error, designed to replicate a given series of shots. Here’s a look at what I mean.
The Inspired Movie Fan
Inspired by the latest blockbuster, the movie fan gets his hands on a camera, grabs some
friends and shoots a little horror movie.

So far so good. He’s brand new and learning hands-on about what he doesn’t know.

After days of editing, the cast, crew, family and friends gather to support the first time
filmmaker. He shows the film to his peeps and it’s a success. They love seeing themselves,
their friends and family. They all congratulate him on a job well done.

Of course they congratulate him, they’re family and friends. Their role in his life is to
support him, especially on achieving a large task like this. He should be proud.

He latter uploads the finished film to YouTube. He’s congratulated by more friends, he
absolutely loves the attention! Finally, he has a purpose in life and declares, I’m a filmmaker!

But, is the movie any good? It may have good moments, but it’s not likely proof that he’s
“got the stuff.” He’s learned to turn shots into sequences and sequences into scenes.

For the record, I see nothing wrong

with this early approach.

I encourage it, and recommend

first time filmmakers shoot a series
of “fun exposure projects.”

Get as much attention as you can.

Absorb the attention and get
energy from it. Learn about the
mechanics of shooting and editing.

But, realize you are limited because you’re working within the circle of your own knowledge.

You may learn rapidly in the beginning, but eventually this will level out. Will you have the
foresight to search for the things you “don’t know, you don’t know?” Or, will you continue to
work within your comfort zone and soak up the addictive attention while it lasts.

What you decide next will determine how you spend the coming years and possibly the
success trajectory of your life.
The Fork in the Road. 
There’s a fork in the road. It’s not obvious and in some cases it’s quite hidden, but it’s there.

The self proclaimed filmmaker must choose between short term pleasure or long term
success. She must decide either to stay in the comfort zone or to stretch out?

Choice #1
Making these backyard
movies has meant a lot of
“small circle” attention. Who
doesn’t like attention. It feels
good.

If we’re honest we realize

that the films aren’t “Big
Screen Great!,” but believe
that “with a real budget”
someday they could be.

This is a familiar “if only” place most of us recognize.

We’re better at something then most or all of our friends. It feels good to be good. We’re in
the zone of pleasure and most of us don’t want to give that up. Been there - :)

The problem is, it’s familiar and real learning happens outside the comfort zone.  

Choice #2
The other path involves getting out of our comfort
zone, learning, training and practicing. It’s hard.
There’s no cast and crew parties after a training
session. No pleasure ping “like” upon finishing a
chapter in a book on film directing, camera
blocking or script analysis.

Nope, that’s why it’s outside the comfort zone. It’s

uncomfortable. But, this is the sweet spot and it’s
where the “why” becomes the “how.” This is
where every gold medal winner and every oscar
performance lives.

Every award anyone has ever received is a result of moving out of their comfort zone - fact!

It’s not sexy. It’s often lonely, but it always pays off. 
A Closer Look
Backyard filmmaking has many
benefits, but it’s not effective alone.
The main problem is that "trial and
error” used exclusively has a longer,
more gradual learning curve.

Mastery takes a lot of effort.

Most backyard filmmakers start

making short films with limited
knowledge based on mechanics. They
can set up camera shots and
recording people “acting.”

It’s not hard to become competent in the mechanics of filmmaking. But, learning by
mirroring is limited. It’s similar to an early artist tracing a figure. The result looks good, but
the student hasn’t learned anything about “seeing” and creating something totally new. He
hasn’t infused herself into the process. He’s not an artist yet, he’s a “tracer.”

Without seeking new knowledge we remain ignorant to the layers of work below the surface.
We watch others work, we see the end result and
go about mimicking what we see.

It’s replication, not creation.

When we don’t know “how” and “why” the

decisions were made, we’re limited in the impact
our work can have. It’s missing heart.

The “why" is at the heart of every craft. It’s the

emotion that lives in your favorite song, and it’s
the difference between winning an oscar and
receiving another Facebook like.  

When we don’t know the “why," we’re left with

something that on the surface looks like art, but
doesn’t capture the audiences’ heart.

If we want to move toward mastery we must

continue to learn and practice past competence, we must continue until we uncover the a
deep understanding of the“why.”
As filmmakers, we must develop the ability to see ourselves in terms of “skills acquired.”
This is the way a the master craftsman sees the apprentice.

We need qualified feedback.

This is why for many years a craft was learned by apprenticing with masters.

Develop Objectivity With Your Work.

Objectivity takes knowledge. The kind of knowledge that allows the craftsman to see the little
things that make a big difference.

Objectivity takes confidence. The kind of confidence that comes from putting the love of the
craft ahead of the needs of our egos.

Objectivity takes effort. The kind of effort it takes to stay open to the pain of short term
failure, because you know it holds the lessons needed for long term success.

Does this kind of “objectivity’ exist in good film schools? I don’t know. I think it depends on
the teacher and the student’s relationship.

But, I do know it’s very rare in the

haphazard, trial & error process
associated with most backyard
filmmaking. 

When we lack the knowledge needed to

measure progress, objectivity can be
very difficult. Imagine doing a science
experiment without books, a hypothesis
or a valid way to measure success or
failure.  

We don’t know, what we don’t know.

What Einstein is essentially saying in his quote is, “We must go beyond of our comfort zone
in search of new information that will help us solve the problems we don’t yet know we
have.” That’s why we read, study and seek out mentors.

We don’t know, what we don’t know.

Chapter 5

A Hybrid Approach to Film

School 
Up to this point I’ve been unpacking the core elements for becoming a successful filmmaker.
I think you’ll agree, it all boils down to a need for knowledge, commitment to practice, and a
strategy for sustaining yourself while you grow. Simple right :)

And while this model might exist in at the best film

schools. NYU, UCLA or Columbia are just too
expensive for most of us.  

Yes, some notable backyard filmmakers have worked

the self-guided path to success. But, these are the
outliers who started early. They paid their dues,
spending thousands of hours (yes thousands)
working through their own self-directed trial and
error process.

These filmmakers acquired the “film school”

knowledge they needed and then leveraged the skills
they acquired with consistently larger doses of effort.
Ultimately they prepared themselves for success.

The model they used is what I’m calling DIY Film School. The DIY Film School approach is
based on:

1. Realizing and admitting you need more knowledge.

2. Deciding to create a weekly study and practice schedule.

3. Finding other like minded filmmakers to support your efforts, as you will theirs.

4. Committing to shooting short film exercises that focus on developing skills.

That’s it, nothing fancy. Nothing you can’t do.

Remember, filmmaking is a process the filmmaker takes part in.

How bad do you want it?

 Anyone with
a camera and
a Youtube
channel is a
filmmaker?

If you’re going to succeed you need to stand out from the crowd and the internet noise.  

More then ever, today’s filmmaker needs to acquire skills that transform the mechanics of
filmmaking into the art of filmmaking. In the beginning, taking the time to acquire and apply
this knowledge may feel like a step backwards, but I assure you, learning fundamentals will
pay off big time, both in the quality of your films and the opportunities that will come.

This doesn’t need to be a long drawn out affair. That would be a “trial & error” mistake. To
do this right it needs to be a concentrated effort that builds momentum. 

Rapid Skill Acquisition.

There is already a model in place for this. It’s called rapid skill acquisition.

 
Here’s an overview of the process.

1. Deconstruct or breakdown what you want to learn into

skills. Filmmaking is a process that consists of directing,
cinematography and producing skills.

2. Identify which filmmaking skill you are most interested in

pursuing. For most beginners it’s directing or
cinematography. * See the film department breakout below for
specifics.

3. Search for free and paid learning materials on the skill

you’ve chosen. Include books, video tutorials, forums and
blogs. Film School books and course outlines are a great
resource.

4. Scan these learning materials for common themes. These

will be the sub-skills. Note which come up most and which
intrigue you the most, focus on them.
5. Create a learning environment that will support consistent concentrated study. Treat this
with the same focus you would if it was part of your $200,000 film school.

6. Read, watch and study the material associated with that individual skill-set. Do this for
approximately twenty hours before moving onto practice. Your goal is to learn how to do
it, when to do it, and why you’re doing it. This is critical to empowering the practice
session.

7. Practice executing the skill until you feel relatively competent. Evaluate the execution and
the result, based on the story structure“why.” Don’t worry, it’s not necessary to be great at
it yet. Good enough is fine. You’ll revisit this skill at a more advanced stage when the time
is right. For now, it’s about awareness and “learning what we don’t know about the
process.”

8. Decide on the which skill sub-set you’ll concentrate on next and repeat this pattern until
you feel you have a foundation of skills and you’re ready to put to them to a bigger test.  

9. Create a mini-film project that focuses on practicing this group of skills. This is not, I
repeat “ is not” about making a great short film. This is about practicing a group of skills.

10. Shoot the above mentioned “exercise” focusing primarily on the “topic skills.” Give
minimal effort to the other skills. Give them less priority. This is not about result. It’s
about focused skill acquisition. You must be willing to sacrifice the result for the skill.

11. Edit and review the film exercise. Critique only the execution result of your
predetermined skill. Rate yourself based on how well your employed skill achieved a
predetermined “story structure” result.  
The Film Industry is Looking for Skills.
The film industry has already segmented filmmaking into sub-skills. They refer to them as
departments. I will at times, refer to these as disciplines.  

Directing and cinematography are disciplines that require you to learn a family of separate
skills. There are some overlapping skills between these two, but most are independent. 

As you look at these departments realize that larger films have many people working within a
department. Each of these are specialists, and all have skills associated with their jobs. It’s
the collection of these jobs that make a successful production. This is why filmmaking is a
process and not a thing. 

Here’s basic list of the core film departments.

• Writer

• Director

• Producing

• Camera Department

• Grip & Electric Department

• Art Department

• Sound Department

• Costume, Hair & Make up

A good film employs all these disciplines.

Which department do you want to focus on?

If you know you want to direct films, focus on the skills associated with directing until you
develop some level of competence. Leave the other skills behind for now. If you want to shoot
then you’ll focus on camera department skills. Yes, a director needs to know about
cinematography. But only from a basic composition, camera blocking and screen direction
perspective. The approach is different because each will leverage the knowledge differently.

You must trust that investing in yourself will pay off.

Being Really Good Will Create New Opportunities.

Working on a particular skill-set within a discipline will eventually make you really good at
that skill, eventually this will make you better at the entire discipline and valued by many.

Good work, attracts good work. 

You’re skills will make you

attractive to people developing
skills in other disciplines.

They’ll want to work with you

because you’re someone who’s
focused and has vision.

Everyone wants to be on a train

that’s going somewhere
exciting - right ?

They may also want to learn from you? When good people work together they learn from
each other. It’s important to think in terms of teams, if you want more success. Teams are
needed for the bigger projects. Bigger projects open new doors and provide funding.

Going Vertical for Success

In the very, very beginning you may need to shoot, do sound and deal with other tasks.
That’s ok. As I stated early in this ebook, in the beginning of our journey we need to focus on
learning what “we don’t know we don’t know.” At this stage we know very little, so any
exposure is good.

In this stage you might find that you really enjoy shooting, lighting and the skills associated
with cinematography. If that’s the case it’s time to specialize and focus on going vertical into
the cinematography discipline and focus on the corresponding skills.

Trust me, once you get beyond basic competence you’ll find little trouble connecting with
motivated team mates. This will provide momentum and the desire to be even better.

Having a specific skill and being really good at it will open doors.

Once you stay focused on a particular discipline and acquire the right skills you’ll realize how
much extra value your skills bring to a project. This will make you incredibly appreciative of
working with others who are adopting the same “grow vertical” strategy within their own
discipline.
 When I say going vertical, I mean
working within the collection of skills
that make up any discipline.

This means focusing on the

foundation until you develop basic
competence. Then instead of going
lateral to work on basic competence in
another discipline, you go vertical and
work on more advanced skills within
your chosen discipline.

The more advance within a discipline

you go, the more vertical you move up.
This will create more opportunities

That’s going vertical.

It all starts with focusing on a single discipline and

breaking that discipline into skill-sets and then
individuals skills.

Rapid Skill Acquisition. 

Getting really good at a particular discipline is a sure

way to get noticed. Being mediocre at numerous skills
is a good way to stay stuck, going no where, all by your
lonesome self :(

As you can probably recognize, this approach takes

strategy and some self reliance. It’s definitely easier to
go to school and have someone give you assignments.

But is it worth $200,000? 

Can you find the “time” to learn and the “will” to practice?

The real question is, How bad do you want it?

I hope I’ve intrigued you with the idea of building skills and approaching filmmaking as a
process. It’s a solid plan that will serve you well.

If you’d like to learn more about how I’ve used this process to grow as well access some of the
“DIYFS - Jump Start Resources” I assembled, please click the link below.

If you need help, send me an email. Your questions help me, help more people. Please keep
each email to one question. But please, do reach out?

Please also be sure to add my email address to your contact list, so we can stay in touch. I’m
putting together more free and paid course material that will help you move forward faster.

I’ll see you along the journey!

Happy Filmmaking,

John

DIYFS - Jump Start Resources

http://digitalfilmfarmworkshops.com/diy-film-school-resource/