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 »
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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.
In this Pitch Tank Webcast, Jason Mirch is joined by The Bucket List and Hairspray producer, Travis Knox. Travis and Jason listen to 5 pitches and offer feedback to Writers' Room members. Projects include a contained political thriller, family drama series, elevated action thriller, anthology series, and a feature with a big conceptual hook! Travis also offered his thoughts on how to deliver a pitch and shared the best advice he ever received.
Sure, A24 is a top tier distributor with a crazy success record over the last few years, but they only distribute a small number of films a year!With filmmaking success now more than ever in your hands, there are so many other avenues to pursue. While the channels of distribution have never been more diverse and accessible, the education for filmmakers of how to best utilize those channels is often hard to navigate. We're here to help that. Is theatrical or VOD your best bet? Will the film festival circuit help you? What can a distributor do for you? And how much money are indie films even making these days?? With so many different opportunities and new platforms arising constantly, how do you choose the best path for YOUR film? Equally bilingual in the language of cinema and the lexicon of sales, Mia offers her knowledge of distribution to help filmmakers navigate their opportunities in the marketplace by understanding the rules that exist and the ways they can be bent and supplemented. In this exclusive Stage 32 Next Level webinar you'll learn how to go from praying A24 will pick up your movie to learning to love creative distribution!
Mentoring with top financier Viviana Zarragoitia, VP of Three Point Capital - exclusively through Stage 32! Get access to exclusive handouts including sample budgets, packages and collection account management statement, sales sheets, sales agent contracts and distribution agreements One of the biggest challenges you’ll face as a creative is finding financiers and raising funds for your film. You may have a great script, a great cast and crew, but at the end of the day no money means no project. Yet you don’t need 10 million dollars to get your film off the ground. With the right strategies and approach you can successfully finance a film for $3MM or less. Sometimes MUCH less, as microbudget films and films financed for under $500,000 continue to find success and still allow financiers to recoup their investments. This is all within your grasp, but first you must understand the ins and outs of what goes into financing a film for less than $3 million so you can ultimately find success. Knowing how to raise money intelligently for films and projects with budgets under $3MM can be your calling card toward making a life working in independent film. Simply put, if you understand the strategies and methods to help your investors see a return, you get to keep those investors time and time again. And those investors can, and usually do, bring more investors with them if they're happy. While everyone says that raising financing is the hardest aspect of filmmaking, it's not impossible, and in fact can be well within your grasp, especially with the right guidance and education. Viviana Zarragoitia is the Vice President of Three Point Capital, one of the entertainment industry's top financiers that specializes in senior lending on film and television projects. Through Three Point, Viviana closes the financing on every film that the company is involved in. She has been involved in the financing of over 100 independent films, and worked with such producers as Cassian Elwes (DALLAS BUYERS CLUB), Rob Barnum (MARGIN CALL), Anthony Bregman (ETERNAL SUNSHINE OF THE SPOTLESS MIND), James Schamus (BROKEBACK MOUNTAIN), Aaron Gilbert (JOKER), Kimberly Steward (MANCHESTER BY THE SEA), Nicolas Chartier (THE HURT LOCKER) and Kevin Frakes (HEREDITARY), among others. Before Three Point Capital, Viviana worked in accounting at Millennium Films and Bold Films, as well as in the finance division of Lionsgate, where she oversaw the preparation of multi-million dollar film and television distribution deals. Viviana has seen it all when it comes to film financing and knows intimately well how films find success at all budget levels. In this advanced level and intensive on-demand 4-session class, Viviana will comprehensively teach you how you can finance your own film for $3MM or less. In Session 1 she will provide an overview of the different types of film financing available to you. In Session 2 she will focus on microbudget films specifically and dig in to how films with these budgets can find success. Session 3 will delve into equity, pre-sales, gap, and sales agents. Finally Session 4 will look at waterfalls, recoupment and navigating collection accounts. Along the way, Viviana will provide exclusive and valuable handouts that you can take with you for your own projects, including: Sample Budgets and Packages Sales Sheets Sales Agent Contracts Sample Collection Account Statement Example Distribution Agreements While this is an on-demand class we highly recommend doing the assignments in-between each session to get the most out of Viviana's class. Praise for Viviana's Past Stage 32 Financing Classes: "Viviana inspired me to learn more about the business side of filmmaking. I had an idea of how to finance a movie, but after our first class, I realized I had a lot to learn. I'm learning more to this day! I highly recommend her class to any film creative with little, to no understanding on how to finance an independent film. What she has to say is priceless!" -Steven K. "As an experienced film and television producer and writer, Viviana's class was just the refresher - and inspiration - that I needed! Having been a completion producer for a bond company, I have seen too many producers who were let down in the producing process by so-called-professionals who offered support at the on-set of a production, but then failed to deliver when needed. Viviana and her company Three Point Capital have an excellent reputation, and her counsel provided in the class solidified that. I highly recommend both Viviana and Stage 32 Education!" -Patricia C. "Viviana was personable, professional, interesting, interested, and a wealth of knowledge and useful information. I will take every opportunity to learn from her. She was patient and polite with every question and always clear with what she knew, what she thought, what she believed, and what she didn't know. She painted pictures and delivered facts, outlining the paths she has seen successful producers take while still encouraging all to pursue their art with a greater knowledge of the business and understanding of the challenges and potential pitfalls." -Randy G. "As someone who was totally new to the world of film financing, trying to learn about the process by myself was intimidating to put it lightly. Viviana clearly explains the film financing process step-by-step and demystifies the complex, bespoke nature of pre-sales, tax credits, sales agents, and so much more. I feel infinitely more confident in my ability to produce a film thanks to this class. I give it the highest possible recommendation for any independent filmmaker looking to finance their film and take their projects to the next level." -Sean R. "Viviana has a tremendous depth and range of knowledge about film financing and she was happy to share everything she knew. Thanks to her loose, attentive style for the class, it ranged far and wide, and she answered a lot of people’s questions whether they were general or specific to their own projects. And I feel like there was value for all of us in even the most project-specific questions." -Randy V.
"No" "Pass" "It's not for me" - What do you do when your script gets passed on by every company you send it to? Screenwriting is extremely hard, especially when it comes to handling rejection. But the reality is, the "no's" are a normal and part of the game. Even professional screenwriters get rejected numerous times a year. This webinar will offer tips and best practices for how to accept rejection, learn from it, and move on. Rejection can actually be empowering, and going through its trenches will ultimately make your scripts stronger and your victories feel that much better. Many aspiring writers let rejection, or the fear of rejection, stop their career before it even starts. Far too many writers quit after one or two scripts that didn’t sell. Even worse, many would-be writers don't even finish a script because they are afraid that it will never find success. Don't let that happen to you. Unless you’re a prodigy, rejection is something you will encounter over and over and over again, even if you become a working writer. But there are ways to prepare yourself for it, and use it as a teaching device to help you become better at what you love. The reality is, you can’t control if someone doesn’t like your work. But you can control how you react to rejection, and how you choose to move forward. ABOUT YOUR STAGE 32 EDUCATOR It took Steve Desmond 17 screenplays to become a full time working screenwriter. He didn't give up and neither should you. Steve has landed on the industry Black List four times and worked with major production companies and studios including Fuller Media (A QUIET PLACE), Warner Bros, Legendary Pictures, Blumhouse, and Mandalay Pictures, and more. FilmNation (PROMISING YOUNG WOMAN, ARRIVAL) hired him to adapt the Stoker-award-winning horror novel THE CABIN AT THE END OF THE WORLD, and he's co-writing a project at Paramount with Wes Ball (THE TIME RUNNER) attached to direct. His short film, MONSTERS, which he wrote and directed, has amassed over two million views online and screened in over 100 film festivals worldwide, winning 45 awards. Steve believes that going through these trenches ultimately makes your script stronger and your victories even better. In this empowering webinar he'll prepare you for it so that you become better at what you love by showing you: The different kinds of rejection, including "no," no response, and the toxic response How to use rejection to make your script better The feedback process and finding trusted readers Defeating self-rejection How to get your script out there Understanding gatekeepers and how to get past them Tracking your submission progress while celebrating the wins Juggling multiple projects so you're always moving forward And so much more! You can't control if someone doesn't like your work. But you can control how you react to rejection and use it to your advantage. PRAISE FOR STEVE'S TEACHINGS: "Before hearing from Steve, I would take months off between scripts if I got a really mean rejection because I couldn't handle it. Now, I'm always working on something new. If they don't want my script. No problem, someone else will or I'll make it myself!" - Emilio S.