By David Averbach

Note: This Key Art series is intended for micro-budget filmmakers whose crew is not under a union contract. If your film’s crew is under an IATSE contract, you will need to abide by the rules regarding still photographers on set as forth by the union. We have been advised that there may be penalties involved by bringing an intern or PA in to shoot stills.

Yesterday, in Part 1 of this blog series, I discussed how relying solely on 1920×1080 pixel frame grabs was a bad idea if one wanted to create a poster that featured some sort of main image. In an ideal world, your entire film would be shot on a 5K camera, and you could pull as many frames from the footage as you wanted. That would be Plan A. But in the real world, many filmmakers emerge from their shoots with only 1080p frame grabs, and that’s not going to work.

Another problem is about marketing. During the chaos of a film shoot, filmmakers often forget to think about the art they might need to support a variety of possible marketing ideas and concepts, and are therefore left with fewer choices and placed in an ultimately weaker position vis à vis possible options on how to market their film without an expensive and inconvenient reshoot. [...]

Tweet

By David Averbach

Over the next several days, The Film Collaborative’s Creative Director, David Averbach, who has worked with dozens of TFC Clients and other filmmakers to help them create and refine their key art, will talk about ways you can avoid the problem of finding out all too late that you don’t actually have the proper materials to produce the key art you want to make.

Note: This Key Art series is intended for micro-budget filmmakers whose crew is not under a union contract. If your film’s crew is under an IATSE contract, you will need to abide by the rules regarding still photographers on set as forth by the union. We have been advised that there may be penalties involved by bringing an intern or PA in to shoot stills.

Takeaway: For narrative feature films, understanding the technical aspects of producing key art and thinking ahead to your key art while on your film set can save time, money and a heck of a lot of aggravation down the line.

If I had a nickel for every narrative feature filmmaker who has told me that they got a photographer, professional or otherwise, to come to their film set and shoot photos but in the end they didn’t show up or didn’t do a good job, or was only there for one day out of a sixteen day shoot, and therefore there was nothing to show for that effort in terms of producing images that could be incorporated into a poster, and therefore were only really left with the prospect of using frame grabs from their film, I’d be rich I could probably buy a Starbuck’s gift card that would last me a week or two.

I hope this series of posts can offer some helpful suggestions for you to avoid this situation for your next film.

First let me say that while I design movie posters, I don’t really have a background in filmmaking itself. If there is anything incorrect/inaccurate, generally unfeasible included here, or if you have anything you think I should add, please feel free to let me know. That said, it’s clear to me that in the heat of the film shoot, filmmakers often forget to think about or are so focused on the film shoot that they can’t get around to thinking about the art they might need to support a variety of possible marketing ideas and concepts, and are therefore down the road left with fewer choices and placed in an ultimately weaker position vis à vis possible options on how to market their film or sell it to a potential buyer without an expensive and inconvenient reshoot. [...]

Tweet