Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films, many of which were released in theaters—his most recent film is being distributed by Lionsgate. Barry’s career as a cinematographer includes several television pilots, acclaimed short films, numerous commercials, and countless commercials and corporate videos. Barry is also the author of the DSLR Filmmakers Handbook. Full Bio »
Any independent filmmaker can tell you that one of the key rules to creating a successful film is to use what you got. This is especially true (and especially challenging) with cinematography. With a limited budget you’re likely not going to have the state-of-the-art equipment or perfectly lit soundstage to get the optimal shot. Often you’re going to have to make do with the locations the team was able to rustle up. These locations might be too small, might lack natural light, might be the wrong color. Well that’s too bad. If you want your indie film to look great, you’re going to have to be scrappy, adapt quickly, and be ready to pull a couple miracles out of your hat. Don’t think this won’t be noticed though; having the tools to make any location look great will not only elevate the film you’re working on, but also bolster your own reputation and prove your worth as a DP or director.
It might not always be fully appreciated, but if you’re serving as DP, it’s down to you to take any shot and make it cinematic. Sometimes this might be as easy as setting up a fill light, but especially for low-budget projects, it’s often much more complicated. With a lack of access to sufficient resources, it can feel like reinventing the wheel to make any shot work. However, coming to set knowing the questions to ask and the tools at your disposal can make all the difference. What combination of a fill light, key light, and back light will work best? How can you use the props and materials that happen to be around to draw the eye to your subject? And perhaps most importantly, when should you push to make the shot better and when should you recognize that it’s as good as it’s going to be?
Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films, many of which were released in theaters—his most recent film is being distributed by Lionsgate. Barry’s career as a cinematographer includes several television pilots, acclaimed short films, numerous commercials, and countless commercials and corporate videos. Barry is also the author of the DSLR Filmmakers Handbook. Barry has had to light and shoot more ugly locations than he can count and has developed a slew of strategies to tackle the challenges they bring.
Barry will give you tips and tools to pull beauty out of the ugliest of locations. Barry will start by going through the basics of art direction and what expectations directors will have of you as a DP. Using case studies and practical examples, Barry will outline how to find and create depth in flat locations and how to use available lighting to your advantage, even if it’s not ideal. He’ll then give you ideas of how to find use available props and items you might not have considered to add dimension to your shot. Then Barry will discuss the importance of where in the location to place your talent to elevate or destroy your scene. Finally Barry will delve into the best way to choose the right lens for each shot. You'll walk away from this fun webinar knowing how to navigate any small space surprises once you get on set with your equipment.
Praise for Barry's Webinar:
"Very professional and Barry gave good advice"
"Excellent webinar . Many great tips I can definitely use. Thanks!"
"Barry has a bunch of great strategies that I'm totally going to use on my next shot"
"Super interesting and super practical advice. Thank you!"
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So you want to shoot a micro-budget film. You've got your idea. You're excited as hell. You can't wait to get going. There's just one problem. You have little to no money, need to shoot this film on the cheap, and you can't do it without an experienced crew. So how can you get quality, talented people to work for you for little to no money? It happens every day. If you know how to navigate. The old saying goes, a filmmaker is only as good as his or her crew. Making sure that everything is buttoned up on set, from your script supervisor to your sound engineer to your DP and gaffer, the more quality you throw at your film in pre-production and during production, the less headaches and "let's try to fix it in post" problems (which are also painfully expensive) you'll face in post-production. The thing is, regardless of your budget, and in this case we're talking ultra low to $250,000, you can find passionate, creative, and qualified people to work for you well below their normal rate. Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films (time and time again with some of the best crews imaginable) and has had his features theatrically released in theaters with his latest film distributed by Lionsgate. Barry's has also shot several television pilots, acclaimed short films, numerous commercials, and countless commercials and corporate videos. As if that wasn't enough, Barry is also the author of the hugely successful and revered DSLR Filmmakers Handbook. Barry will teach you how to secure top level, Hollywood quality, crew members for cheap no matter where you live in the world. He will instill in you the confidence to identify and then go in for the proper "ask". He will show you why sometimes a positive and visionary attitude is everything. He will even teach you how to be flexible with your story and locations in an effort to give yourself the best chance of finding and securing a crew that can take your film from OK to masterpiece. PRAISE FOR BARRY'S TEAHCINGS: Barry is an excellent teacher. He never fails to inspire and make you understand that what you always believed to be impossible, or at least ridiculously daunting, is not only possible, but absolutely attainable if you follow his methods. I wouldn't be where I'm at without him. - Julia V.
In this world of DIY filmmaking, it has become easier than ever to just pick up a camera and start making your project. You don’t always need much money, a big crew, corporate backing, or other resources; you can just get up and go. But this certainly doesn’t mean your project is automatically going to look good. Even on a budget, even as a guerrilla filmmaker, it’s critical to have the tools you need to make something look professional and of high quality. You don’t necessarily need the top-of-the-line camera and all of the expensive specialty equipment found on a massive set, but there are things you’re always going to need with you, a kit that will have you covered in any situation. The challenge is determining what exactly this kit should look like. If you’re a DP, director, or a one-person-band doing all of the jobs at once, preparation is key. But if you go to any camera or equipment store or website you’ll notice just how many options there are. Tools for every occasion. Every type of lens. Every type of stand. Every type of light. Every type of microphone. It can be overwhelming to even look at. How can you distill all of these options into exactly what you need, a collection of tools that you can get on a budget and pack into one bag? Is that even possible? Your instructor Barry Andersson knows that it is. There are just some important things you need to know first. Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films, many of which were released in theaters—his most recent film is being distributed by Lionsgate. Barry’s career as a cinematographer includes several television pilots, acclaimed short films, numerous commercials, and countless commercials and corporate videos. Barry is also the author of the DSLR Filmmakers Handbook. Through his extensive experience, Barry has figured out the best and most cost effective equipment you need to make great content. Barry will share with you his time-tested soup-to-nuts equipment list and will show you, piece by piece on camera, what he uses and why. He’ll begin by walking you through the strategy of putting together your own kit and aspects you need to keep in mind when assembling the perfect collection of equipment. He’ll discuss the types of lenses to carry with you and what to get even if you don’t know anything about lenses. He’ll also delve into choosing the right case and strategies to efficiently pack everything you need. For filmmakers on the go, Barry will share how he packs everything he needs for travel without spending extra on baggage fees. Barry will share exactly what gear is essential for every type of project, including standard filming, talking heads, and B-roll. He will next discuss audio and the types of microphones, stands, poles, and extras you need to effectively capture audio on the go. Barry will walk you through the life-saving essentials he takes with him wherever he goes—seemingly miscellaneous items that no one ever says you should have. He’ll also tell you what things you don’t really need, even if people say you do. Barry will give you a resource list of 11 must-have items for your equipment kit and where you can find the best deal to purchase them. Praise for Barry’s Webinar: “Great insight. Very practical and actionable advice.” -Martin R. “This was so straightforward and practical. No theory, no filler, just exactly what I needed to know. Thank you” -Harold B. “Barry’s advice was so helpful. I feel a lot less overwhelmed about buying new equipment now” -Sandy C. “I NEVER find webinars that are this straightforward and useful. This was such a gem.” -Roger F.
Learn how you can connect with the right producer to help move your project forward from an exec who has worked with Hulu and had multiple films at Sundance! PLUS! Get exclusive case studies from Rachel's work on DIARY OF A TEENAGE GIRL, SWISS ARMY MAN, and BEING FRANK! Finding the right producer is pivotal to getting your project made! However, finding, securing, and building a relationship with a meaningful and experienced producer can be one of the biggest challenges writers and filmmakers face. Even with a great script and a stacked cast, many producers who can move the needle forward on a project are often in great demand. Securing a meaningful producer means you have someone on your team who can pull the strings, make the offers and put the puzzle pieces of the project together. But how do you find a producer in the first place? How do you build a relationship and show them that you’re someone they should take a chance on? And once you’ve reached that point, how do you get the most out of that relationship to assure that your vision reaches the screen in the most productive and profitable manner possible? To help you understand the path to securing a great producer is Rachel Crouch, the Director of Development at Cold Iron Pictures, a production/financing company that has most recently produced BEING FRANK starring comedian Jim Gaffigan and Anna Gunn. Previously Cold Iron produced SWISS ARMY MAN starring Daniel Radcliffe and Paul Dano, as well as Marielle Heller’s directorial debut DIARY OF A TEENAGE GIRL starring Bel Powley, Kristen Wiig and Alexander Skarsgård, both of which premiered at Sundance Film Festival. They also produced the Sundance hit UNTITLED AMAZING JOHNATHAN DOCUMENTARY, which premiered in the US Documentary Competition section and is available on Hulu. Rachel has been involved in every step of producing these films and has helped launch careers of the talent involved with them. In this exclusive Stage 32 on-demand webinar Rachel will walk you through the nuts and bolts of finding the right producer and forming a great working relationship with him or her. PLUS! Rachel will provide you with exclusive case studies from her own background to illustrate how the producer-talent relationship helped bring the film to life. Downloads include case studies from: Independent Spirit Award winning DIARY OF A TEENAGE GIRL Sundance winning SWISS ARMY MAN SXSW nominated BEING FRANK Praise For Rachel's Work and Teaching: "Rachel Crouch was awesome. She enriched my knowledge of the world of producers and how as a screenwriter we can make connections with the right ones and how best to work with them! Great job." - Ricki L. "WOW. I can't say enough good things about Rachel. Working with her gave me the skillset to actually get my script into the right hands. Thank you!" - Cynthia M.
Learn directly from Shaun O’Banion, an award-winning independent producer! As a producer, post-production is a part of the process you’re rarely involved in from day-to-day, and yet it is one of the most integral parts of the filmmaking process (if not the most important). A lot of questions can be asked from a filmmaker like how to shape the film, how to define roles in post, what to do with VFX, how to handle the footage you have and ultimately how to develop a great film after it’s been shot. It’s not easy to do and it takes a lot of practice and experience to perfect. We will discuss the pieces that make up the whole, from assessing the relationships in the edit suite, to bringing all of the elements together and how it all happens. From the technical to the emotional, this webinar will attempt to demystify the process in a way for you to easily understand what to do to “find the film” in post. Post Production: Finding the Film is presented by 20 year industry veteran, Shaun O’Banion, who has worked with the likes of Steven Spielberg, Christopher Walken, Courtney Cox and David Arquette, Ben Stiller, Jack Black, Judd Apatow and Peter Hedges. He has won numerous awards for his films, including the prestigious IFP GOTHAM Award for GIRLFRIEND. PRAISE FOR SHAUN'S TEACHINGS: "Thanks for the wonderful class. A phrase comes to mind when I think about it: 'Tell it like it is'. You directly shared what it is like in the industry. I don't know how others in the class are affected, but I am left with the motivation and recognition that one must love - have a passion for creating films to be in the industry - as it should be. So, your effort is an inspiration. You are someone who is 'following his bliss' as Joseph Campbell would state it." - Don D. "Thank you again for teaching a terrific filmmaking class! You have valuable practical real-world experience that is hard to find in theory based teaching today." - Rene S. "There was so much information in your class that I think I’ll have to come back next session and take it all over again - gladly! Great class!" - Daniel T.
A good book takes the reader to another world. A good film or series does the same. Today, it’s not unusual to turn on the tube and take in films like THE WOMAN IN THE WINDOW, WHERE THE CRAWDADS SING, and BLACKkKLANSMAN, or series like OUTLANDER, THE HANDMAID’S TALE, and MINDHUNTER, all of which are based on fiction and non-fiction books. Writers of all levels are seeing the potential with adapting a good story from the pages of a book. However, not knowing exactly how to go about structuring the story or what elements to highlight and pull from a novel could be a proverbial brick wall for some. But it doesn’t have to be. A large part of the battle for many creatives is determining whether or not a book or article is worthy of adaptation. Once that determination is made, deciding what part of the story is high concept and what isn’t is also a challenge for some. Understanding the writing process when it comes to novel adaptation is a crucial (and often overlooked) step in developing your story. Liz Sczudlo is an experienced TV and film writer who is often hired by networks and studios like the CW, Hulu, Lifetime, Hallmark and more to adapt popular novels for the screen. Some of the novels she has adapted include#1 New York Times Bestseller THE DIVINE SECRETS OF THE YA-YA SISTERHOOD, THE ARCHIVED by bestselling novelist V.E. Schwab, Aimee Friedman's SEA CHANGE, and Dani Cubides' MI HERMANASTRO. A seasoned television writer and producer, Liz has written for shows like CW's JANE THE VIRGIN, FOX's THE FOLLOWING starring Kevin Bacon, ABC Family's SWITCHED AT BIRTH, MTV's AWKWARD and CW's 90210. In addition to developing her own pilots for Hulu, TBS, CW, CBS and Village Roadshow, Liz is currently serving as writer and co-executive producer for the CW's reboot of DYNASTY, where she helps run the room. Liz's deep experience with writing and adapting has given her unique skills and understanding of the novel adaptation process, and she's excited to bring what she knows exclusively to the Stage 32 community. In this exclusive Stage 32 on-demand webinar, Liz will take you through the process of adapting a book for a film or series from start to finish. From learning how to determine what types of IP to adapt to organizing ideas and materials, Liz will help you boil down your concept so you can get started. What’s more, she’ll dig into how you should best develop the story world, the importance of building strong characters, and how to choose the most notable moments to give your story momentum. Tips on how to reach out to the author are also part of this information-packed webinar. Liz will even offer a case study of HBO's adaptation of Liane Moriarty's novel BIG LITTLE LIES, breaking down the choices that were made to turn the popular book into the wildly successful series that it became. Praise for Liz's Stage 32 Education "As a published author, this webinar was immensely valuable to help me turn my book into a film. There is so much nuance to adaptation that I could not have imagined without Liz's guidance. Thank you, Stage 32!" -- Rob M. "One of the best courses I've taken!" -- Natalie R. "Liz knows her stuff! For anyone who is trying to making a show or movie out of a book, this course is IMMENSELY beneficial and will enable you to do the work with efficiency and ease." -- Jon Z.
This webinar has a 100% satisfaction rating! Whether you’re a writer, an actor, a cinematographer, an editor, sound designer, a colorist, a VFX artist or an animator, every project you work on is going to have to pass through post production on the way to fulfilling its creative promise. Post-production is an intricate, sometimes lengthy and always critical process necessary to turn a bunch of shots, moments, and ideas into a singular and polished product. This is no easy task, and doing it well can lead to strong and ongoing career as a post producer. And if you’re a filmmaker or creator in your own right, peeling back some of the mystery of post can help inform your own art and allow you to better create. Despite how vital post-production is to any project, it’s often enigmatic and not fully understood. When most people think of production, they only think of a film set and are less able to visualize what comes after the film set is over. The concept of a dark room where so many decisions are made that determine a show’s eventual success is foreign to most. A successful Post Production process requires an elaborate choreographed dance between creativity, technology, time and money. Understanding what that Post Production process entails, and how your skills can best fit into it, is critical towards making whatever you do creatively more successful in the end. Let’s explore how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape. Brad Carpenter is an Emmy nominated producer who for over fifteen years has built a stalwart reputation as one of television’s most sought after and effective producers specializing in post-production. Brad has overseen a slew of massively successful series including HBO behemoths BOARDWALK EMPIRE and SEX AND THE CITY, Showtime’s hit NURSE JACKIE, USA Network’s critically acclaimed THE SINNER, FX’s Emmy-winning FOSSE/VERDON and most recently LITTLE VOICE for Apple TV with executive producers J.J. Abrams and Sara Bareilles. Brad continues to produce upcoming TV shows, including the new TV fantasy drama INK MAN, currently in development. Few producers out there are as practiced and knowledgeable about the intricacies of TV post-production as Brad, and as a long-time member of Stage 32’s community, he’s thrilled to share what he knows. Brad will leave no stone unturned in this all-encompassing rundown of TV post-production, so expect to leave with a full picture of how this field works and how best you can approach it yourself.