How To Be A Digital Filmmaker

There’s no denying it – 2016 is going to be a great year for filmmakers. The skyrocketing demand for video content means there has never been as much opportunity to make a career out of doing what you love. At the same time though, the availability of camera equipment and other related technology means more and more people have access to the tools required, which only increases competition among other like-minded and talented people looking to grow their careers.

Here are a few pointers to increase your chances of being commissioned when you’re pitching for work:

1.  Tailor and sell yourself based on each specific brief.

Make sure that you submit the most appropriate examples of your work. Too often, we see filmmakers using examples that are not at all relevant for the client or brief, even when the director has perfectly good samples that could have highlighted their ability to execute on their idea, but they failed to include.

Also, if you are pitching directly to brands, make sure that everything is in clear and simple language as some may not have the same level of production knowledge as an agency team.

2. Don’t rush treatments.

These need to be thought through carefully. They need to be concise and presentable. Images are particularly important as they convey the look and feel of what you are trying to sell. You may have the best idea but if it’s conveyed over four pages of text nobody is going to read it.

As with any piece of writing, make sure you triple check your spelling and grammar as mistakes here are a real turn off. Filmmaking is about precision and if you are careless with your writing then it won’t give anyone much confidence in your organisation on set.

3.  Vary your reference films.

Time-lapse is massively over used. We all love Wes Anderson (below, Moonrise Kingdom) but you aren’t doing anything innovative or exciting by using the same reference as everyone else. This is about trying to be a bit different.

Use alternative less well-known references if that is the angle you’re going for. Reference multiple styles and examples of those styles working in both your own and other work. Really show how you will bring the idea to life with styles, techniques, shooting and equipment. Make sure your references are current and don’t be afraid to refer to work that isn’t your own.

4. Clarify roles and responsibilities.

If you are a production company pitching, be really clear on who the specific director is that will be that will work on the brief. Submit their bio along with that of all the key members of the team who are working on the project and be sure to give examples of the specific teams’ work, rather than work from the company as a whole. People hate uncertainty and clients like to understand the production plans in detail, especially for bigger budget projects.

5. Keep supplementary documents separate.

Having a supplementary document or section with bios, post-production details, timelines or budgets is important, but keep this separate from the actual treatment.

You can never have too much information but your ideas can easily be lost if you don’t lay everything out clearly. Think about what the person on the other end is being presented with - the impression you want to leave - and make sure they understand the essence of your concept first, before addressing the supporting information that proves you can do it.

Everyone has different styles and approaches to treatments but if you manage to nail most of these points then in our experience you’ve got a good chance of getting your proposal selected or your book seen by agencies.

Good luck, it’s an exciting future for filmmaking and hopefully there is some useful information in here. Most important of all, remember to have fun!