Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films 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. Full Bio »
Q: How do I watch my webinar live?
A: If you received a confirmation that your webinar is on Go to Webinar, you will receive an email from Go to Webinar with further instructions for participating in the live webinar. You can also access your webinar link in your purchase history located under settings in the top right-hand corner of your Stage 32 profile.
If you received a confirmation that your webinar is on Zoom, you will receive a separate email from Zoom with further instructions for participating in the live webinar. Your login link will not be in your Stage 32 profile. If you did not receive your link via Zoom please email email@example.com.
Q: How do I watch my webinar on demand?
A: You will be able to watch your webinar on demand as many times as you’d like inside your Stage 32 profile. The recording is processed and posted between 24-48 hours after the webinar concludes. You can follow the instructions below.
YOU MUST HAVE A STAGE 32 PROFILE TO WATCH YOUR VIDEO – STAGE 32 IS FREE TO JOIN If You Already Have a Stage 32 Profile:
Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute educational broadcasts that take place online using a designated software program from Stage 32. Your webinar will be taught by a working industry professional with in-depth teaching on a topic. If you are able to attend live you will be able to ask your Stage 32 Educator questions during Q&A.
Q: What are the system requirements to watch my webinar live?
A: You will need to meet the following system requirements in order to run the webinar software: Windows 7 or later Mac OS X 10.9 (Mavericks) or later.
If you have Windows XP, Windows Vista and Mac OS X 10.9 (Mountain Lion): The webinar software does not support these operating systems. If you are running one of those operating systems, please upgrade now in order to be able to view a live webinar. Upgrade your Windows computer / Upgrade your Mac computer.
Q: What if I cannot attend the live webinar?
A: If you cannot attend a live webinar or purchase an on demand webinar, you will have access to the entire recorded broadcast, including the Q&A.
Q: Will I have access to the webinar afterward to re-watch?
A: Yes! Like all Stage 32 education, after the purchase of a live or on demand webinar, you will have on-demand access to the recording.
Q: How do I get a copy of the handouts provided?
A: If the webinar you take included handouts you can find them as downloads underneath your on demand video. You must be logged into your Stage 32 profile to view the video and get the handouts by clicking settings in the top right hand corner, then clicking purchase history.
Q: What if I need accessibility and accommodations?
A: Email firstname.lastname@example.org to request accommodations.
Thanks for your loyalty to Stage 32 Education. We value having you in the Stage 32 community.
If you have any further questions, we are always happy to help. Please contact Stage 32 support at email@example.com.
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.
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" -Carol L. "Excellent webinar . Many great tips I can definitely use. Thanks!" -Ron H. "Barry has a bunch of great strategies that I'm totally going to use on my next shot" -Charlie C. "Super interesting and super practical advice. Thank you!" -Tina R.
We're kicking off the final month of 2020 in the Writers' Room with a another member-inspired Breakdown Webcast! This month we will be talking about writing Theme in your feature scripts. Every well-conceived and executed story will have a theme, which is the "controlling idea", underlying essence, or deeper meaning of film script. And yet, because themes are often buried deep within a story’s structure, it can be hard to articulate or even recognize them. That is why we will be breaking down story structure to find out exactly which scenes typically explore theme. As always, we will be utilizing scenes from some of our favorite films to discuss how they handle theme. We pull clips from classics such as Jurassic Park, Shawshank Redemption, The Exorcist, Saving Private Ryan, and more!
As an independent filmmaker or producer, you likely start working on a new endeavor for creative reasons—the chance to tell an amazing story, build worlds, create something of cultural value. Yet this is, of course, not the only element of filmmaking. Like it or not, your independent film is not just a creative endeavor; it’s also a business. You’re sourcing financing and bringing in investors, building a team, and creating a property that will (hopefully) ultimately make money not only in the present, but for years to come. In short, you’re not just a making a piece of art; you’re also running a business. To operate successfully in the world of independent film and continue to make films that you’re proud of, you need to be able to think like an entrepreneur and understand the dynamics and the relation between financing, distribution and recoupment of film investments. Further, you need to open up your creative mindset to the myriad opportunities available all over the world including hot markets found throughout Latin America. The business side of films is often especially difficult for filmmakers and creative producers, but the more you understand, the better your chances of finding a production partner or investor to take your vision forward. Latin American film production is booming right now, diverse with a variety of production hubs all over the region. Big budget international films shoot alongside local films with relatively low budgets, all created for both local and international audiences. Working in the Latin American market, especially with films in the sub-$1MM range can offer you opportunities you haven't thought of before and give you a path to profitability. But to take advantage of this surging market, you need to understand the variety of production and financing options available and how to tap into them. Whether it's hard money, soft money or other methods toward financing and securing the necessary pieces to greenlight your project, getting a handle on the in's and out's of how to proceed will put you in a powerful and advantageous position. Understanding and executing this business model will open new doors to other productions around the world and serve to create a portfolio of proof that will serve as a calling card moving forward. David Zannoni is an international business specialist for Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management specifically in the US, Latin America and $ope. As an international film business specialist David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. David is intimately familiar with how independent films are financed and made profitable all over the world and will share what he knows exclusively about the Latin American market with the Stage 32 community. David will focus on the Latin American market and walk you through what you need to know to finance your independent film, $1MM or less, and leave profitable. He will begin by explaining what a $1MM or under budget looks like in the Latin American region and whether it’s considered a small film. He’ll delve into how film financing works specifically in Latin America, including a breakdown of soft money sources versus hard money sources, local vs international productions, forming a co-production as a financing tool, tax and location incentives, taking advantage of government support, and working with film commissions. He will highlight how Latin American film financing is different compared to other regions and how both Spanish speaking and English speaking content works within the region and will go over the notable platforms and TV channels available as well as how they differ. David will outline the production capacities in the region, including for in-house production, co-productions, production servicing, and work-for hire. He will then teach you what specifically Latin America can offer foreign productions, including incentives, co-productions, talent, and shooting locations. He will also discuss how Latin America has its eye on the US, Spain, and the rest of Europe. David will explain how to approach your film as an asset, how to see yourself as an entrepreneur, and how to see filmmaking as a business. David will then go over the continental circle of financing, distribution, and investment recoupment and will explain how revenue and right management works as well as managing your recoupment. He will spend time delving into Latin American film contracts, including distribution agreements, CAM agreements, and sales agency agreements. David will ultimately illustrate whether Latin American films can be profitable and how, and analyze with you when a Latin American film can be considered successful, whether it breaks even or finds profitability. Plus, David will show a case study of a real $1MM Latin American film to illustrate how a film of this leve l can be profitable and exactly how the money flows through from beginning to end. He’ll show financing documents and spreadsheets to illustrate the financing structure and demonstrate how money flows in and out. Through this detailed and practical demonstration, you will leave with strategies and a deep understanding of how to approach your own $1MM film as an entrepreneur and build a finance structure that will leave you and your investors profitable. This Stage 32 Webinar is Part 2 in David’s "Think Like an Entrepreneur" series. Click here to check out David’s webinar on being profitable in US marketplace with a sub-$1MM film and click here to check out his webinar on being profitable in the European marketplace Praise for David's Previous Stage 32 Webinars "David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
History is littered with the bones of many failed films which fell apart due to conflicts between the director and producer. While you'll often hear how important it is for a filmmaker to have relationships with all the vital players and department heads on his or her set (and it certainly is), the reality is that the relationship between the director and the lead producer is the one that will begin the earliest and last the longest throughout a particular project. A healthy, cohesive relationship between the film director and the producer will show the cast and crew that a united front has been formed and that everyone is pulling in the same direction. An unhealthy, bifurcated relationship will put the cast and crew on their heels, which will inevitably hurt the project. Directors and producers are often people of vision and power. Harnessed correctly and collaboratively, that combination can bring out the best in everyone and help to make a project stay on time, on budget, and on message and voice. Harnessed incorrectly, ego and hubris take over. It may seem obvious that communication is the key to assuring that the relationship flourishes, and that's not totally untrue. But the key to a productive and positive relationship between the director and producer is understanding all aspects of what needs to get done, recognizing what the other person's needs are, defining what's worth standing up for and what's worth letting go, and recognizing that at the end of the day, you're both fighting for the same result. As President of Production at Zero Gravity Management, Tai Duncan oversees film projects from inception to completion encompassing all aspects of development, casting, finance and production. Zero Gravity is a production and management company based in Los Angeles that boasts a strong client list of screenwriters, directors, actors and financiers for feature films and television. Tai recently produced PROUD MARY for Screen Gems starring Taraji P. Henson and HOW IT ENDS for Netflix starring Theo James and Forest Whitaker, HONEST THIEF starring Liam Neeson and THE MARKSMAN starring Liam Neeson. Zero Gravity produced the Warner Brothers, Ben Affleck starring action/thriller THE ACCOUNTANT, the drama A FAMILY MAN starring Gerard Butler and Willem Dafoe and Executive Produced the hit Netflix television show OZARK starring Jason Bateman. Needless to say, as an on set producer, Tai knows a thing or two about the director/producer relationship including the pitfalls and the paths to glory. Beginning with pre-production, Tai will take you what steps you will need to take from moment one to forge a productive relationship that will last through post and beyond. Tai will talk about the steps you need to make to assure you are communicating clearly and effectively. He will talk you through script notes, casting, hiring crew, location scouting and scheduling. Moving on to production, Tai will teach you how to keep things smooth on set, how t manage disagreements, scheduling and money issues, and the push and pull between what a director wants and what he or she has in the can. Tai will then move on to post, and how to manage expectations during the assembly cut and the director's cut. He will discuss scoring, sound and color, sales and marketing, festival approaches, and even distribution strategies so that everyone is fully communicating and staying on the same page throughout. "Don't allow a failed relationship, miscommunication or misplaced ego sabotage all the work and effort that's gone in to putting a project together. Cohesiveness begins at the top and must continue throughout the project. I'll show you how to get it done." - Tai Duncan
As a writer, receiving notes on your material may be a difficult part of the process but, ultimately, it's part of your job. And understanding how to deal with and apply those notes to your writing may be your most important job of all. Make no mistake, all writers are precious about their work, and taking notes is never easy, but the sooner you open yourself to receiving and understanding your notes, and the note behind the note, the more likely your work will become tighter and you'll signal that you're a writer that people want to hire and/or pay for your work. Film and television are the ultimate collaborative medium. You write alone (or in a team), but to make the final product, the work of dozens to hundreds of people is required, and they all have a contribution to make. The work is a product to be sold to buyers and an audience, and they get a say in what they want to purchase and consume. Screenwriting is also the ultimate iterative process. No script is ever perfect on the first draft, and scripts evolve and grow even during production itself. So you will be receiving notes – lots and lots and lots of them. Some you will ask for: notes from other writers, professional consultants, managers and agents. Some you will hope for: producers, executives, directors and stars. Some you will agree to: showrunners, studio and network executives. And some will remind you that necessity is the mother of invention: from line producers, casting directors, set dressers, and costume designers. The bottom line is you need to understand what these notes mean and how to execute them when you agree and what to do when you don't. Anna Henry is a Producer and Development Executive. Anna has set up projects at Sony, 20th Television, EOne, Starz, Amazon, Netflix, Corus, ITV America and more. Anna began her career as a development executive at Nickelodeon, then crossed over to prime-time television working at CBS and ABC in drama development and programming before working in management and establishing herself as a Producer. Anna has been on the giving and receiving end of script notes of literally hundreds of scripts throughout her career. She has developed a strong understanding on the "lingo" of script notes and what the note behind the note means when it comes to your script. Now, you will learn how to dissect the feedback you get on your script from an executive's perspective. Anna will take you through the entire process of receiving notes. She will take away the anxiety of the entire process and teach you how to accept notes with professionalism and grace. She will explain to you who you should be getting notes from and how listening to the wrong voices can set you back. She will teach you what notes you should think about and when you should take a note as gospel. She will explain what notes are worth challenging and which you should absolutely adapt. She will help guide you through what it means when you get notes that go over structure, plot, stakes, character and exposition. She will take you through logic and clarity, cuts, action lines, dialogue and scene notes. And, she'll even go over what you should do if you get vague notes, nit picky notes and when you get suggestions and alternatives. Anna will remove all the fear and apprehension one feels when asking for and receiving notes, giving you a comprehensive guide to reference every time you get notes on your work. You will learn how apply them to tighten your work and put yourself in a position to sell your material and/or get hired!