A Web Series Journey - Part 2
A Web Series Journey - Part 2
THE TASK AT HAND
When I was seventeen, I bought a 1973 VW Karmann Ghia. For those who don’t know what that is, imagine a VW Bug that has been stepped on. It was a great teenager car except for one major detail, it had no back seat to speak off.
Soon thereafter the transmission failed and needed to be rebuilt. I did not grow up in a household that was mechanically inclined, but we were very resourceful. After some calling around to different mechanics, I realized that I could replace the transmission myself. I only needed to drop the engine and pull the transmission and then do all that in reverse. Sounds daunting, right.
What does this have to do with a making a web series?
To a beginner both seem like impossible tasks. But even before the internet, we relied on information and instructions to help get us there, albeit from a paper source instead of digital.
Armed with the Haynes VW manual and an excellent book called How to Keep Your Volkswagon Alive: A Manual of Step by Step Procedures for the Complete Idiot, I embarked on the task at hand. I only needed a few trips to Sears for some tools before I was well underway.
There is a Filmmaking for Dummies book. And I’m sure a Complete Idiots guide to Directing. But everything you could ever want to know is either on a web site post or in a website forum. The information is out there you only have to go out and get it.
I made a short film quite a while ago and I’ve been working in the TV industry as a visual effects supervisor for long enough to know that I could get it all done. But there was a lot I didn’t know and needed to find my way through.
The first step was where to find my cast and crew.
CAST
The cast started with Chris Muto and Angie Patterson. Both are SAG and so I needed to get a SAG waiver and then round out the rest of my ensemble.
SAG offers a New Media Short Form Contract for productions under $50,000. There is information on how to get started with this on the SAG website. It is a process to be mindful of and there are certain requirments that you can’t get away from. You’ll have to make sure you have workers comp which will be covered by a payroll company. There are now options for smaller productions like Wrapbook that can help facilitate this process.
There seemed to be two different ways to go to find the rest of the cast. One was to spend the time to hunt down name actors and go after them. The other was to post up a casting call on Actors Access and look for great undiscovered talent. I chose the latter as I could see more immediate results and move faster on the project. Che Landon stepped in as Casting Director and Associate Producer from a previous connection with Chris. Through her guidance I was able to set up a casting session.
CREW
On any film short or otherwise you’ll need a cinematographer unless you’re shooting it yourself. I invested in a camera and a set of lenses so I could shoot my own projects as well as use it for my day job. But that didn’t mean I wanted to do it and I’ll get to more of that later when I speak of the many hats you have to wear. I reached out to Drew Ganyer who I knew from my time on True Blood. He had an excellent reel, came with a great recommendation, and had his own camera and lenses.
The importance of sound cannot be overstated. In my opinion it is what will set your project out from the crowd. I have always been appreciative of the sound crew for the work they do since that’s how I got started in the business. My senior year of high school, a local film company came through and were looking for interns for their feature film Dead Aim, with Ed Marinaro. I interned as the cable utility on the sound crew. It was one of the most exciting experiences of my life, watching them blow up cars at 4am, close down streets for the whole day. I haven’t looked back since.
I reached out to sound mixers I knew and asked around as many people that I could. I even posted up some ad’s onto crew websites like Industry Jump or Production Hub. Budget is always the issue. What can you pay and what can you afford. Then I rediscovered the sound mixer from my first short film, Trevor. I took it as a sign that the project was blessed to bring about an amazing crew. I had met Sterling Moore from my lead actor on that short and had only run into him once before on True Blood.
FORGING RELATIONSHIPS
Finding your cast and crew is a real challenge, even if you do have a budget. But it’s even more challenging when you don’t. The right people who not only fit within those parameter’s, but also people who you are going to enjoy working with.
Filmmaking is the creation of relationships. You can’t do it alone. You can I guess if you’re only filming flowers. But if you want people in your show and you need people to help those people, then you have to connect with people.
I am fortunate enough to have worked with a lot of talented people over the years. Many times they are either too busy or unable to help on a personal project. But usually they know someone who is willing to pitch in and help out here and there. They do this to either make new connection or to have something for their reel or to gain some new experiences. And even launch a new career that they didn’t know they would take. Whether you are fortunate enough to know people in the industry or go to film school, there are a myriad of ways to go about bringing together your team. The most important step is always the first step. Because if you don’t take that one, nothing else follows.
In case you are wondering, I was successful in rebuilding my Karmann Ghia, although I had some help from a mechanic who did the final touches. It actually made it all the way from Atlanta to Los Angeles when I made the move out. Not even a flat tire.
Whether I’m successful with my web series Frank James, well, time will only tell. Stay tuned in for our release, coming soon.