How Much Should I Charge as an Editor?

This is a complicated question.  It depends on a lot of things.  The answer can range from $0 for a project up to maybe even $1,200 a day.  That’s the highest rate I’ve heard, but I’m sure there are people who charge even more.  Now what constitutes the vast difference of these answers when bidding.  Well there are four factors in deciding what to charge.  Experience (the biggest), Production Budget, Time to Execute Task/Length of Employment, and Equipment.  If you take these things into account, you’ll know what to charge.

Some Backup drives of Fourwind Films projects

The biggest factor on what to charge is whether or not you’ll get hired.  This has a lot to do with your experience.  If you’re fresh, only have cut home videos and never worked with a client before, you may need to do one or two for free before someone will pay you to do it.  It’s like that in every art form.  I think a lot of people in the industry forget this, but your first projects, the first time you’re doing a task, you need to keep your rate low and you’re educating yourself on what it’s like to have this sort of client.  You may also be learning on the job, hence it’s likely going to take you longer.  Now, I’ve been a professional Editor for 20 years.  Really I don’t charge $0 for anything editing-wise anymore, unless it’s a friend’s project that I love or something, but that’s extremely rare.  But when you start out, you need to be able show that you’re not going to waste a client’s money before you get paid.  Movies are expensive and time consuming to make.  There’s a lot of uncertainty.  So most Producers want an experience person who’s already done the specific task they’re asking for.  So, I suggest only your first 1-3 years to work on anything for free and only in cases where you may be doing something new.  Soon after, start charging something.

Make sure whatever your experience is, that you’re going to be able to be sustainable.  A lot of time for figuring out a starting rate in this year of 2025, I’d start with at least $250 for an 8-10 hour day (12 hour days are just silly in Post-Production or in most jobs, raise your rate if it’s more than 10 hours a day).   This rate is for beginners with very minimal experience.  For example a starter’s salary for working on social media or internet videos for smaller companies.  You’re still likely much slower than folks with experience.  On top of that, the product you put out will likely be not as good.  The more experience the faster you are at making changes (if you work at it) and the higher quality product you’ll put out (if you work at it).  Hence, you can charge more as you’ll get more done and likely have a better product.

I tend to believe after 10 years of doing the same job, you’re pretty close to the top of the totem pole.  Meaning if you’ve cut for 10 years Editing wedding videos, you can charge top dollar.  If you’ve cut 10 years in documentary features, charge top dollar.  This doesn’t always translate if you switch what kind of video you edit.

Mr. David Ruano and Justin Joseph Hall on the red carpet of the New York Latino Film Festival for Prologue

So then you may ask, what is top dollar?  I follow pretty closely based on the Editing Guild’s standards.  These are what unions charge per person per day.  This is very informative.  It ends up being around $800 or a bit more a day for top editors in their fields, which is around what I charge.

So you have the opposite ends of the spectrum in 2025 when this article was written, $250-$800 a day for an editor for their experience.  This is basically a living wage salary to start up to the union limits.  Obviously if you have less than 10 years under your belt, you slowly raise your rates until you get to the top dollar rates.  This has been my experience and has worked well.

How do you slowly raise rates?  I suggest at the beginning of a project if you have a new client, just try it out.  Raise them slowly.  If you have a lot of work and are busy, it’s a great time to test raising rates.  

For example, if you have a project that’s difficult to fit into your schedule, try bidding it higher so if you get it you're happy to complete it for the extra money.  If the client ends up saying yes, you’re gonna be really busy, but you may have permanently established a new rate for yourself.  

Another good time to raise rates is if you have a repeat customer.  They’re coming back to you and probably don’t want to use someone new.  Because for Producers, anything new is something unknown which they want to avoid.  So raising a rate slowly with an older customer is a great way to test and establish a new rate.

Now experience, as I said, was not the only factor in determining rates.  Production Budget is also important.  Ask yourself if the production realistically has enough money to pay you.  If it’s a friend’s short film, maybe asking for your normal commercial rate doesn’t make sense.  If it’s a commercial for a big brand like AT&T, for sure they have the money!  So you can always have a sliding scale and negotiate with the contractor who  wants to hire you.

So what’s the best way to do this?  I suggest to start with a higher rate and be willing to come down if needed.  Most of the time I just give them my rate.  Much of the time clients say it may be too high, I may come down, and may not.  You sort of have to read the situation on how close you were to what they were thinking.  Great producers come back with an offer pretty quickly.  If it seems like you may be losing the job if you bid too highly, tell them you’re willing to negotiate to fit the Post-Production budget that they’ve allocated.  You can bargain likely in being more strict about notes and deliverables so it doesn’t take longer than expected and you can still feel like the project was worth your time.  In other words, always define how much work you can get done in the time allotted.

Another huge factor for a bid on a job is how long will you be employed?  How long will it take to finish the job?  I tend to give discounts the longer the job is.  Because if I’m working, I don’t have to search for more work.  They say that applying for jobs is like a job.  And it is!  You’re marketing yourself.  It’s tiring and uses your resources.  So if a gig is longer than a week, I give a discount.  If it’s longer than a month, I’ll give more of a discount.  If it’s even longer, possibly even more of a discount.

Sometimes your bid has to be for a whole project.  So you may also wonder how to bid that.  If you know about how long it takes you to complete a project, I usually estimate that then add an extra 20% for unknowns.  So, like if it’s going to take me a week, I’d charge my rate for 6 days total, because you never know what wrench might get thrown into your perfect Post-Production plan.  The first person I assisted for, Nathalie Gage, taught me that early in my career and I’ve always found it useful.  It helps you to stay calm when clients want changes and makes sure you’re appropriately paid.  It’s always good to build that buffer into the original bid, as it’s easier than having to go back to the client for more money, as they may have assumed certain notes were included in the original bid.  So when also doing a bid for a whole project, make sure to define in written word what exactly that includes.

Audio recorder and color control equipment

When doing time estimates, don’t forget to include render, color, or any other tasks you may be working on if it’s being bid as a project.  Remember, even if you’re not editing or constantly sitting at the computer for a render, it’s using your computer’s processing power and you may not be able to do other tasks or work for other clients in the meantime.  That, in fact, brings us to what to charge for your equipment.

It’s important to think about the equipment that you have that the producers want you to have for a job.  If you’re on set editing and are required to bring your own laptop, your own power station, or whatever, charge for that.  If you have to provide your own hard drives, charge for that (and backups).  If you’re using special equipment like an expensive color monitor or a powerful computer to handle 8K footage on a quick edit, charge extra for your powerful computer.  Software and online services like Dropbox and frame.io are also appropriate to charge for in certain situations.  Tell the client why you're charging and see what they say.  You can always say, “No problem, I just can’t provide file transfer services without a fee, we’ll have to use yours.”  So these terms for equipment especially are always negotiable.  I usually charge about 3-5% of the cost of the piece of equipment if I charge for it.  It’s just a simple way to calculate the number.

All in all, stick to the range based on your experience first and foremost, consider the client’s budget, the time it will take to execute the project with buffer time, the length you'll be employed, and finally any specialty equipment costs.  With these in mind you’ll have no problem bidding out professional Post-Production gigs.

For any questions please write Justin Joseph Hall directly at justin.joseph.hall@fourwindfilms.com

Parenting and Working in the Movie Industry

It’s tough working in the movie industry as a new parent.  You have to be gone for extended periods of time.  It’s not fun, you have a job to provide, and that job can conflict with your family just like any other job.  But it’s true, the freelancing filmmaker lifestyle feels untraditional and can make you feel like you're doing the wrong thing or at least question yourself.

Myself in the background with my kid hosting a film event. Bill Lane speaking at Feature & a short.

Obviously, going to work or having odd hours that makes you miss weekends or even full months does not mean you’re doing anything wrong.  It can be hard because it does affect your kid.  Young kids especially can seem to prefer one parent over another temporarily.  In my experience they tend to prefer someone who can fully concentrate on them while they’re with them.  Kids emotionally remember the last great feeling they had, as they’re emotional beings without a lot of history.  So even if you don’t have a ton of time with your kid if you’re on a shoot, just save the energy to make it memorable for them when you do have time.

You won’t lose a lot and your kid will come around.  Being gone for a while is tough.  It’s imperative to just find ways to be in their lives with notes, calls, or something to let you know you’re always there for them and a part of their lives.  I think it’s really as simple as that.

What I learned Directing my first narrative with professional talent Part 3: Shooting

Alright it’s shoot day.  The biggest issue you’re facing as a director working with actors is time.  Your day is pressurized.  You need to do so many things very quickly, or at least your crew does.  You’re responsible for making every decision that wasn’t made before today, solving confusion while maintaining the integrity of the impact of the movie your making.  That’s why before you get on set, the best thing you can do to help your actors is to prepare every other department before the first day on set.

Photo on the set of Prologue (2020)

Get to a place before shoot day where your department heads are comfortable.  Shoot days are insanely expensive, you or the production is paying everyone to be there, feed them, maybe even house them.  On top of that you or the production is renting equipment.  Delegate what you can.  Trust your team you helped hire so you can concentrate on working with the actors' get everything out of their performance.  Honestly this is what I felt I was naturally best at, I’m very prepared and I know what decisions I want to make versus what I leave to department heads.  But you must communicate what you’re keeping and what department heads are responsible for, or there can be confusion.  There’s always something I feel like I thought I communicated but hadn’t on shoot day.  It’s very hard to over communicate as a director.

If you’ve rehearsed, then you should also know where the variability can be for the actors.  You’re now familiar with how they interpret the text, how close they can get to an ideal.  Set up the mood for the actors from the beginning of the day.  Set the tone for the actors by how you conduct your set.  Also, use your Assistant Director.  They’re often the next most adept at dealing with actors.  Communicate the mood and your concerns.

Then when you’re ready to shoot, know what is the most important shot of the day.  Make sure you save time for those performances because it’s easy to get caught up on small things like a single line delivery or the way someone walks.  Learn to adapt to what you’ve captured so you can focus on key moments for the film.  Your scheduling will determine where those moments come during the day.  You may want to think while scheduling, is there a scene you want earlier in the day so you have ample time to shoot it?  Is there a moment you want to build up to and shoot on the last day?  All of these things you can mention while figuring out the schedule, but it very likely won’t be the only factor in figuring out the schedule, so you’ll have to be flexible.  Know your schedule and how much time you can go over on something (Good AD's help with this a ton as well).

Adam Wade & Shonali Bhowmik on the set of Sardines out of a Can (2013)

Another way to buy time is to combine shots with camera movement.  If you do this you must be much more precise with your pacing of the scene.  It also may cost more to move the camera effectively to combine shots for the scene.  But in the end it could end up saving you money if you can save time shooting or it may allow you to have more time to capture the big moment scenes.

Finally, give all speaking actors the attention on the day they're doing scenes. You likely will have to focus a bit more on main characters, but all characters are important and you want all actors to appreciate their time on set.  I do not always do this well.  It’s important to remember the actors are all different and they’re not their characters.  Pay attention to what they need to become their characters.  All acting is on the actors and the director to emote for the characters.

It’s a lot to pay attention to, but in general, what I learned from my first short film is to be extremely prepared, trust your instincts (cliché, I know), and pay attention to all of your actors preparing and on shoot day and you’ll capture unforgettable moments for your movie.

What I learned Directing My First Narrative with Professional Talent Part 2: Rehearsal

So, now you’re cast and you need to decide whether you rehearse.  Most people do rehearse.  Just think of plays, you couldn’t do a play without rehearsing.  Preparing in film is just about the best thing you can do.  However, in movies you have an option, as people can rehearse on their own.

Award-winning movie Directed by Justin Joseph Hall

Since video is captured so briefly and you can’t refine performances further as you perform each and the audience is very critical in film, sometimes honest reactions can be found by not rehearsing and letting people react honestly on set.  So the choice is up to the directors and actors.  It’s good to discuss this.  I find most of the time people fall on rehearsal to refine and make sure everyone’s on the same page, but if it’s more of a free flowing set that gives actors freedom and you really trust and believe in your actors you could skip rehearsal.  I personally like to rehearse to work out pacing and to understand the tone of the actors working together like an orchestra.

So what is rehearsal good for?  Why wouldn’t we just bring the crew and shoot it?  What makes a good rehearsal?  All great questions.

First off, what makes a good rehearsal is one that improves the final product with less cost.  That is the reason we don’t bring in the crew.  It’s a minimal crew, time to practice with the actors for them to hone in their characters while the director hones in the story.  Just as in a play.  Sometimes the key players are brought in for rehearsal.  The cinematographer at times helps to understand emotions, framing and distances between characters.  Maybe an intimacy coordinator if there’s going to be sex scenes.  Really whoever you want to help along.  A writer may be brought in order to modify the script or work in good improvisations for the shoot day script.  However, the more people you bring, likely the more it will cost.  Also, the main concentration is on the actors, so you don’t want them to be distracted.

What makes a good rehearsal?  A positive environment for the actors in which they end up more ready for the day.  The director as well.  The more comfortable the team feels and the less they have to figure out emotional beats and timing issues on shoot day results in savings from when you’re paying for rental equipment, gaffers, grips, assistant camera people who aren’t paid at rehearsal.  So, rehearsal is a great way to stretch your budget a bit further and improve the quality of your film’s acting, pacing, and even improve the story.

For a few tips when trying scenes that I’ve loved during rehearsal is #1, let the actors present what they’ve prepared.  Learn from their style, adapt to the actors.  I rarely give any direction ahead of a scene, even if it’s something technical.  I like to see what they do.

Sardines out of a Can, John Early & Shonali Bhomik

Second, trust your instincts, but know that no one is going to match exactly what’s in your head.  Make sure you’re getting what can add to the story, whether or not it’s what you had in your mind in the first place.  Don’t forget the tone you want your film to set, but real characters and great actors live in that world and can vary from moment to moment.  That’s sometimes what makes something work or even ‘feel real.”

If you are stuck or don’t like what you see I suggest first directly telling actors the emotions the characters are feeling in the parts that aren’t working.  Get them to the place by telling them what you want from them kindly, yet directly.  For instance, I may have said to one actor that your character wants to cry but can’t be heard by her husband.  That’s very specific.  I may tell the counter character that he’s distraught about the marriage relationship and a bit depressed but is focusing all his energy on his job’s success and making a kid.  In a way, it’s telling the story of emotions that brings details on a script page to life.

If it seems nothing is quite right at all and the actor is stiff.  Maybe give them odd directions, just to get comfortable and to have them concentrate on something other than their lines.  Tell them they have a nicotine crave and can’t find a cigarette.  Maybe they’re waiting for a phone call from a first date and are trying to occupy their mind with what’s going on in the scene.  This can spark creativity and you can always take anything you give them away.  It’s just to give challenges and get actors out of their own heads.

Take the time during rehearsal (it always seems too short), to learn how an actor gets in character.  You should already be talking to them and getting to know them on a personal level, always exploring the work.  Know what gets them to tick and how they like to get to their spot on set so you’re prepared with how to deal with them for important scenes.

Shawn Thomas & Claudia de Candia in the opening scene of Prologue

Finally, think about blocking, but not too much.  I like to keep those thoughts in my head to speak with the Cinematographer afterward on how to capture what we want.  Are there adjustments that need to be made?  Will those adjustments change the tone of the framing of shots?  Would it affect lighting plans?  Just some things to always ponder in between rehearsal and shoot day.  Same with the writing.  If you see something needs to be changed, speak with whoever’s in charge of the script.

That brings me again to improvisation.  Some actors like it, some don’t.  I, often for an improvement, really like to tell actors to start a few lines before what’s in the script.  Write a few lines before what’s on page so we can think about what the characters just finished doing before what’s needed for the stories.  It’s a way to get inside the actor’s minds and also to make sure everyone’s further on the same page.  You may get great ideas from them.  Push actors in rehearsal so you know what’s comfortable for them on shoot day when it’s chaotic.

Of course, have fun.  What a pleasure and joy to play and create with professionals.  Working with actors is so much fun.  Vulnerable artists who are willing to work with you on your idea you care about.  It’s really an amazing feeling.

What I learned Directing My First Narrative with Professional Talent - Part 1: Casting

For many years, I directed short films with my brothers, schoolmates, then I switched to working with other filmmakers.  We would make movies, being silly and doing the best we could in a role, but in a way, we never took it seriously and dedicated our life to it.  

That’s what actors do.  They dedicate their life to being able to reach emotions and express themselves as a living canvas.  They are the art that we watch in plays and movies.

People love stories, and we have an innate drive to learn as human beings with the brain wiring that we have.  One of the fastest ways we can learn is through stories.  Stories give us not only information, if provided, but we can hear about feelings and with actors, we can see what someone is feeling and in turn internalize that with our own empathy.  In this way we’re not only learning through words & thoughts, but also with emotions.  It’s the reason I love movies.  It’s why I crave to watch more.  It’s to learn more about humanity’s experience.  It’s why I love documentaries, but also narrative movies.

Narrative, or fiction movies, allow us to explore ideas with emotions, or recreate past truths with emotion.  We ask actors to embody certain ideas or certain people in sometimes unthinkable situations that none of us would choose to experience otherwise.  It’s a safe way to learn empathy, and connect our consciousness through others.

Katina Corrao, Joe Perrino, & Claudia de Candia at Prologue read through

I know actors spend years putting themselves and practicing different emotions and learning to embody someone else.  I know a lot about technical aspects in film and I wouldn’t ask someone I don’t know who knows how to operate a camera, or animate, or other special skills to just work for free.  So I wanted to make sure I had money to at least compensate the actors for their expertise, in order to make my film better.  As the people who can earn money to act, likely are much better and have honed their craft for much longer.

But then, as a director, our job is to shape so many of these technical skilled collaborators into a story or idea we have in our head.  To translate and organize, to gather the team to rally around an idea.

I’ve listened to actors talk all the time.  They’re fun to listen to.  The best are famous, adored, talked about by friends who don’t even work in the field.  There are shows, like Inside the Actor’s Studio, dedicated to learning from the best.  I’ve tried acting here and there under other directors to understand the craft a bit more.

However, I knew directing, my least amount of experience was directing actors who were professionals.  I’ve been around other people doing it.  I studied, read books, but as we all know we at least feel like we learn most from doing as your weaknesses confront you in real time.  So what did I learn from directing my first short with professional actors?

Yara Escobar - Colombian talent

The first thing is, despite famous acting techniques, like method acting, or improvisational comedy being famous.  In all genres, every actor has their own way of preparing for a role.  This may seem obvious, but you have to discover the actor’s method that they use and work with them.  You're molding them into something you and the actor want in the role.  Something you as the director feel comfortable with but also something the actor is comfortable with and will feel proud of when their performance is immortalized on screen.

This discovery begins in the casting process.  As many do, I had tapes sent in, and I filtered out people from their audition and choice on the part I was casting.  But from there I had so many amazing applicants left.  So I started to talk to them.  Interviewed them all over coffee or a call for an hour then had them perform again.  I had my writer and collaborator help me decide who was right for the lead.

From there we asked the lead actress to help us in some of the casting decisions as well, because the lead actress would be working the most with the other actors.  We wanted the people we chose to be compatible with her as well.

From there, we had our cast, a small five person cast for a short movie.  Next read Part 2 regarding rehearsal.

Writer’s biography

As a Director, Justin Joseph Hall evokes emotions and spurs new thoughts through fiction and non-fiction works.  Artist & the City (2021), his docu-series on creative careers, won 6 awards including the Audience Award for Best Series at YoFiFest.  Prologue (2020) is a surreal exploration of relationships and miscommunication winning Best of Awards at Manhattan Film Festival and Worldfest Houston International Film Festival.  He’s currently editing his first feature Frames of Reference, an education adventure encountering an addict teacher, a cowgirl, outlaws, transgender studies, & kids with guns.

Should I use Avid or Premiere (or Resolve)

As a professional editor of over 15 years, the most common technical question I hear from serious beginners is what software should I use for editing.  Now as of recent people have been starting to talk about DaVinci Resolve a lot more.  I use DaVinci Resolve all the time, but more for coloring, but it does seem like a promising software to learn for the future, especially because they have a free version, which always bring in more users, hence clients becoming more used to the program.  But I don’t use Resolve yet as I don’t think the shortcuts and organization fit editing quite as well as the two dominant editing systems in the industry right now: Adobe Premiere and Avid Media Composer.

Author Justin Joseph Hall in 2013

This is about the strengths of each of these applications, in my opinion, and when I would choose to use one or the other.

Top 4 features in Adobe Premiere

1. Modern simple workflow  that is customizable and accessible.  You can use almost whatever codec, timecode, and type of video file you have and just start editing.  There are some limitations, but overall it is much more flexible and you can decide to make proxies or not.  It adapts to your workflow and allows you to adapt to the system you’re working on and the footage that you have.

2. The Adobe Suite integration is amazing.  There is no other company that does so many visuals as well as Adobe does.  Photoshop is the industry standard.  It is what everyone has used for years for still images.  It’s what Avid Media Composer is to video, but it has even more of a hold on the industry due to its flexibility and ease of use.  Same thing with After Effects and simple motion graphics.  It’s included in the suite and you can do so much in the program.  On top of that there are other great programs and all of this comes at the same price as Avid Media Composer.

3. The ease of editing still photos and simple motion graphics in Premiere is much more flexible and intuitive than the very old system of add ons and nesting that Avid Media Composer makes you do.  It took the ideas of Final Cut Pro 7 and took them to the next level when Apple went a different direction with their video editing program.

Exports are also much easier with a separate program Encoder, and the easily editable outputs.  It’s much simpler than Avid’s confusing export console where exports really tie up your whole system and it’s very slow at encoding.  Even when I work in Avid I usually create a quick export (maybe even a reference export where there is no render made) and then re-encode in Encoder.  

Encoder leaves out options in lieu of simplicity which can really be frustrating at times.  For example Avid does make different color spaces much easier to navigate, but timecode and resolution differences are simple and as straight forward as typing in the values you want in Premiere.

4. Finally the process of reconnecting and managing media is much easier in Premiere.  It’s the main reason why you want to edit there.  Not only can it handle any codec in the timeline naturally (although making proxies is still recommended no matter how powerful of a computer you’re using).  But you have the option to cut natively and it’s easy to connect and reconnect footage.  I should mention Resolve is even better at reconnecting footage as it’s almost automatic, but Premiere is modern and intuitive while Avid’s system is outdated, protective and it erases most of your original file names and folder structure which makes it difficult to figure out things for yourself in finder, which is a hell of a pain.

Because of this ease, Premiere doesn’t require a technical person on the project like Avid does.  This can save money.  You need someone experienced in Avid to run the technical aspects of the system, Premiere is much more quickly accessible and a quicker gateway into creating something in Post without studying too much about very technical facets of moviemaking.

Top 4 Features in Avid Media Composer

1. Avid has all the bells and whistles you can imagine needing for the job.  Although Avid can feel slower, it is more thoughtful and the tools in the end, as you learn them make you work faster, so you can get your ideas from your head to the timeline in the least amount of time.  It’s customizable and is the standard in editing because it seems they thought of everything.  I hear of editors all the time that learn of a new Avid tool after working for 15-20 years.  It does really seem like they listen to editors and are inclusive with ideas, never throwing away old ones, just adding to the toolbox you can use.

2. Markers and script synch are a godsend to anyone who uses them in their workflow.  Organizing scripts, and written information about footage is so easy to manage, export outside of Avid and compile different visual ways of looking at your footage.  First off for anyone who does paper cuts (which I really don’t love, but it’s a common workflow), Script Sync makes it so easy for anyone to quickly find footage from a transcript.  It uses technology to click on the word and it’ll bring you directly to the audio in the video.

On top of that, the marker system is easily editable, color coded and easily navigated in many ways.  You can export markers and send them to Producers, or use them internally using Avid’s search engine to create databases that you can bring elsewhere or search right within Avid.  When you’re making a program with hundreds of hours of footage, this capability can vastly, vastly improve your show as if you prepare properly and are organized, when it comes crunch time at the end of a project (as it always does), you can fix small problems in 15 minutes from your database, versus taking a day to find a phrase, or a specific B-ROLL shot.

On top of that because it’s so easy to edit, the markers are able to be used as a visual indicator on the timeline  You can visually show where interesting sections of the footage are, or color code by person or place to visually see in the timeline different information.  This does take time to prepare, but it’s so excellent and isnt’ as frustrating as Premiere’s uncomfortable marker panel.

3. Avid’s system seems to be everlasting.  Jon Alpert who I’ve worked with, made two movies that spanned about 30 years on and off in the edit room, and the Avid projects could always be recovered because they use the same system as back when Avid started.  The project files still open many versions later.  Editors once they learn Avid will always feel comfortable there. 

4. The main reason Avid is the best is because no matter how large the project gets, it’s still usable and still possible to keep together in one project or a smaller set of projects.  This is because Avid uses bins that hold some of the project’s information, but doesn’t tax the computer with opening the entire project’s information at all times.  Only when you have certain bins open are you reading the information and taxing your computer’s memory with that information.  This makes it feel like your always just working on a small bit of the project and makes everything manageable.

If you do happen to use multiple projects, you can easily transfer bins between projects as long as the media is available wherever  you’re bringing it.  This means Avid is so easy to use with a server on huge television projects, or series of any kind.  If you have full teams working together on complicated archival or cutting multiple shows at the same time, Avid is a no-brainer.  Premiere is a sports car meant for one or two people, whereas Avid is like a vehicle where you can always add an extra seat for anyone you want at a standard predictable costs of a computer and a license.

In the end, both systems have carved clear spaces for themselves in the industry.  Premiere on projects under 20 minutes, for speed of use, exporting ease, and ability to work in the Adobe Suite.  For commercial projects it’s just so much more simple when you’re exporting a lot and switching shoots and footage often enough that you just want to quickly edit, send a project away on a drive and be ready to work for an individual person who can execute in Post-Production.

Avid, I’d use for projects over 15 minutes where organization of the footage content matters most.  Where you expect to spend a lot of time with footage to mold it into perfection and likely are working in a larger team.  Especially projects that will last longer than two or three months.  It’s so worth it.

As a final note, DaVinci Resolve again, doesn’t beat either of these projects when editing, but it’s getting there to compete with Premiere.  Because it’s an industry standard in color correction and media management, the ease of using DaVinci Resolve can speed up finishing especially if you have an editor color the footage.  It takes out a variable of switching software one less time which is great.  It’s just not as comfortable in managing screen space for editing as it is organized for finishing and not for sifting through lots of clips.  So it definitely is not on the way of replacing Avid, but look out Premiere.  Work in here if you want to future-proof your workflow or add a skill to your résumé.

If you have any other questions about Post-Production, please contact me at justin.joseph.hall@fourwindfilms.com

Writer’s biography

Justin Joseph Hall has held positions as Editor for networks such as HBO, NBCUniversal, and PBS.  At Downtown Community Television he helped pitch and develop the show Axios (2018-2021), the Emmy-winning documentary series.  Abuela’s Luck (2018) was picked up by all HBO’s streaming platforms and slated to be adapted into a full-length feature movie.   His mastery of post-production and the visual arts has awarded him opportunities to work with Major League Baseball, Dwayne “The Rock” Johnson, National Geographic, Discovery, and BMW, to name a few.

10 Tips for Getting the Most Out of the Austin Film Festival Screenwriters Conference: What's Missing From the Official FAQ

The Austin Film Festival (AFF) kicks off each year with its Writers Conference, a four-day event of panels and parties exploring the craft and business of screenwriting. For screenwriters, this is heaven, where they can celebrate and commiserate with their peers and idols as they learn, network, and bond.

I attended for the first time last year, and quickly honed in on the things I wish I had known before arriving in Austin. I’ll be attending again this year, where my screenplay BIGGER IN TEXAS is a Second Rounder in the Drama Feature Competition, a hard-earned win that I will be shamelessly flaunting on my badge, as any self-respecting AFF attendee should! More on that below.

The festival has its own FAQ page, but here are ten tips for how to get the most out of the conference.

[ID: A selfie of Laura, a woman with white skin, shoulder-length brown hair, glasses, wearing a black mask. Behind her is a room in the Austin Club full of other screenwriters waiting for a panel to start.]

1. Network before you arrive

If you’re like me, you’re on countless screenwriting-related email listservs, discords, and Twitter/X communities. Now is the time to start chiming in and asking if any of those anonymous screen names you’ve bonded with are heading to Austin this year. The more you make those connections now, the easier it will be to hit the ground running when you recognize each other in line for a panel, or need someone to eat a quick taco lunch with.

2. Network after you leave

Let those writerly bonds grow through the year. Everyone will be thrilled to exchange contact info after chatting, so make sure you follow up. Write down the contact info or photograph the badges of the people you loved chatting with. Create a networking spreadsheet that records what you chatted about, then drop a line to say hi after the conference. This is how friendships, collaborations, representation, and writing groups are born, so don’t let the opportunity pass you by.

[ID: Laura’s Austin Film Festival badge from 2022, complete with an image that matches her social media profile photo.]

3. Know your work

Every conversation will start with the question, "What projects have you been working on lately?" Before you leave, polish up an elevator pitch for your most recent project and a few short sentences on what you like to write, where you come from, and what makes you distinctive.

If you need direction for creating or strengthening your project elevator pitch, check out this episode of The Screenwriting Life with Meg LeFauve and Lorien McKenna, “The Elevator Pitch + Austin Film Festival Prep Workshop.”

Likewise, for your personal pitch, I recommend this article, “How to Create a Killer Personal Pitch That Will Help You Sell Your Project” (2019) by Carole Kirschner, Director of the CBS Diversity Writers Program and WGA Showrunner Training Program.

4. Bring comfy shoes

Make sure you pack shoes you can walk in. The conference does a great job at scheduling events within a walkable radius in downtown. Still, sometimes your schedule shakes out so you have to hoof it ten to twenty city blocks as fast as possible to snag a spot in a popular session.

[ID: A rainbow colored sculpture of a cowboy sitting on a long-legged horse in downtown Austin.]

Unfortunately, horses aren’t provided, so pack your good walking shoes!

5. Dress to impress your fellow writing nerds

Despite my best efforts (let’s be honest, nonexistent efforts), my collection of movie-related clothes grows year after year. If you’re like me, this is your audience – make an impression! Last year, I wore a bomber jacket that said “Don’t Fuck with Martin Scorsese” on the back… by the end of the day, I was in countless Twitter photos, and had tons of new writer friends who started conversations with me about the jacket. I was known for a day or two as “the girl with the jacket.” Go get yourself a nickname. (And will I be wearing it again this year? Of course! Come say hi.)

[ID: The writer from the back, standing in front of a green trellis, wearing a black bomber jacket with white sleeves and text that says “Don’t Fuck with Martin Scorsese.”] 

6. Dress up your badge

After you buy a badge, AFF will reach out to request a badge photo. Not only should you send a photo ahead of time (which avoids a long photo line at check-in), but you should send the same photo as your favorite social media handle (Instagram, X (formerly Twitter), Discord, etc.). This will help those who already follow you electronically recognize you in person, and help those you meet at the conference find you online. If you're active on social media, write your handle on your badge.

This year’s contest is already closed, but word to the wise – if you rank in the contest, they put it on your badge for everyone to see. Claim those bragging rights!

7. Minimize travel

Book lodging as close to the geographical center of the events as you can, which tends to be around the corner of 7th St. and Congress Ave. All official events are within walking distance of that point, so you likely won’t need a car during the day. And when you careen out of the Driskill Bar in the early hours of the morning, you’ll thank your past self for the short walk home.

8. Maximize panel benefits

Look at two things when choosing panels: what they are talking about, and who is saying it. Depending on where you are in your screenwriting journey, you may create a schedule designed to address your writing or industry blind spots. Alternatively, don’t hesitate to attend a topic that may not light you on fire, but features your screenwriting idol on the panel – you’ll take away critical advice regardless of what they plan to discuss.

[ID: A room in the Austin Club packed with screenwriters of various genders and skin tones. The room has a white ceiling, cream colored arches, and a chandelier.]

9. Bring a good notebook

You will be writing notes on your lap. This may sound overly specific, but I recommend bringing a hard cover, spiral bound notebook. Nothing is worse than four days straight of trying to write fast while the pages are closing on you or the notebook bends around your thighs, all while you’re furiously jotting down tips for taking a general meeting, what not to do when querying managers, and how to write dialogue that leaps off the page.

You can take notes on your phone, but the panelists you respect may perceive that as rude.

10. Hydrate and pack snacks

This ain’t amateur hour. We’re all adults. Long days and fun nights mean you’ve got to take care of yourself. Being your best self and maintaining a full schedule is hard if you’re hungover. Whether you indulge in alcohol or not, keep in mind that getting food can be time consuming, so be prepared with some hearty snacks that’ll keep you going in case of tight turnarounds between events.

___

Laura Kroeger is a published film writer, screenwriter, editor, and alumni of the Women in Film and Video Narrative Script Development Fellowship. You can follow her on X/Twitter at @reel_insight.

Have other questions you want answered in a blog post? Let us know at info@fourwindfilms.com. Work in film? Connect with us on Instagram or Facebook [at]FourwindFilms.

How to License Music for Movies

The cost to license music can vary from $0 to a million for a song. As a director, I prefer using music that’s already been made rather than working with a composer. There’s something special about musicians who created from their own inspiration and passion and whose music can also help my movie. Working with a composer has a time and a place, but generally, my first option is to place music and learn how much it costs, so that is what this article focuses on.

The legal side of things

I’m not a legal professional, but I’ll explain what I've learned in the simplest terms possible. 

For movies, you need two licenses to use a recorded song: 

1. The publishing rights to whoever wrote the music. 

2. The license to the recorded track. This is known as the master license or synchronization license.  

Typically, when you pay for the licensing, the cost of the publishing license and the synchronization license is equal.  Sometimes, they’re owned by the same person.  We call each of these licenses“sides.” So you have to pay for both “sides.”  

Pricing

To get an idea of pricing, consider how famous an artist or song is and whether or not they’re represented. Very few artists release songs for free, but they do exist. Kevin Macleod, who I use a lot, releases his music for free but accepts donations. The reason he releases music for free is to expose more people to his work to get composing gigs. But this is very rare.  Another way to get free music is to find a musician who loves your work and who you know intimately.  Maybe you can do an exchange.

What’s another thing to consider when you are negotiating a price? If you’re showing on television, likely the artist will suspect you have a higher budget—the same thing for feature-length movies.  

What You Need To Know Before Approaching an Artist

It’s essential to know your overall music budget and how many tracks you need to license.  Musicians rarely give a rate upfront when you ask. They always ask about your budget first, as they don’t want to say a number that is too high that may scare you off, nor do they want to say anything too low where they can’t maximize their profits for their assets.

You also need to know the length of the license.  Most artists will always suggest a license of about a year and for only one type of media.  This means you’ll have to go back to them if you want more licensing. One year is a common length, which could work for a film festival run or a commercial. This can give you time to raise more money for a more extended license because the ideal licensing length and platform you want in your contract is “worldwide and in perpetuity.”  Perpetuity means forever, and worldwide means you can use it in any format existing or to be created, though it’s wise to include those words and be specific in your contract.

Photo by Ricky Rosario on set of Frames of Reference

Who To Contact

Often the most annoying part about licensing is getting hold of the owners.  Sometimes many people own a song because they purchased parts of it, or maybe it was written and recorded by an entire band who no longer work together.  If this is the case, getting in contact with everyone can be a lot of work. Oftentimes the synchronization license is owned by the record label who may have paid for the recording, and the songwriters own the publishing rights. But it can vary, and everyone can sell the rights to their songs.

Mid-range artists sometimes charge around $500 for both sides if they’re not on a label.  But I’ve found this to be more true if I know the artist or at least have met them. If they’re a friend, I may get songs for around $100 for both sides.  

From our award-winning short drama, Prologue

As for represented artists, more people are taking the pie, and they have a middle person negotiating for them.  For example, I licensed from a lesser-known independent artist, Emika, who Ninja Tunes represented.  Ninja Tunes wanted a cut and negotiated with me for a worldwide license in perpetuity.  They argued for $2000 per side after I had already paid them $750 for the first year of theatrical release. So, in the end, I ended up paying $4000 for the song at the end of my movie Prologue.  I also paid the same amount for a more famous composer who represented himself, Goran Bregovich, for the same short movie.  Goran’s people made a deal with me because Prologue is an independent short movie, and they knew I wasn’t making money on it.

For a feature film or television show, you may be able to negotiate a royalty deal where they take less money upfront but will receive some of the profits from the movie their art is helping to create. This is generally only an option for features and content made for broadcast.

Negotiating Price

Marcellus Hall an Artist in New York City played around the world including in at Seoul Webfest.

I’m an independent filmmaker but have gotten a deal with a famous artist.  I licensed Woody Guthrie, who, if you don’t know, wrote: “This Land is Our Land” and “America the Beautiful.” He is one of the most respected American Folk composers of all time.  He is deceased, and various people own his songs, but I wanted to use a cover song performed by the artist in my documentary, Marcellus Hall an Artist in New York City.  I had a meager budget for the series–$10,000 for 31 minutes of an independent web series. But the featured artist in my documentary, Marcellus Hall, is a similar artist to Woody Guthrie, and admires him greatly. So it was important to me to use “Hard, Ain't It Hard,” which was owned by Woody’s kin. Luckily for my team and me, the owner was taken by the documentary and gave me a deal for $500 in perpetuity for the publishing rights, but this is not common.

When making feature films, a lot of these prices go up.  I’d say from a short or web series to a feature or a television show, expect a price hike of 2-4 times.

Every single contract is unique and negotiated by both sides.  It’s always wise to have options because you never know what an artist will say.  I’ve had artists who would not license their music to me after seeing my movie. They wouldn’t even give me a price.  Why? I’m not sure. They wouldn’t say. 

A common question is, what do famous artists cost?  Well, I keep my ears open.  For a news television show I worked on, we licensed the publishing rights to an early 1900’s composer’s most famous song.  We played it safe because the copyright holders are trying to make as much money as they can in the final years they have the rights to the music’s copyright.  This ended up costing $10,000.

How about Pop artists?  I’ve heard Brittany Spears’ songs go for around $20,000 for both sides, which seemed low to me.  Then I’ve heard almost everyone say The Beatles’ and Radiohead’s songs are around $1 million dollars for both sides.  

Myself (Justin Joseph Hall) playing bass for my senior photo

A mid-range price I’ve heard was $80,000 for the Grease soundtrack because the musicians (bass player, guitar player, all the singers) are all union, so many people are getting a slice of the payment. In this case, the team I was working with ended up cutting costs by licensing a song that only uses the original vocals of the cast with alternate instrumentation. This wasn’t ideal but was likely unnoticeable to the average audience member, and it saved tens of thousands of dollars in licensing fees.

Ordering more from the same artist and agency also helps you negotiate, especially from independent artists.  So try to use songs from the same artist, writer(s), or publisher. For example, it may help to take songs from the same album. Or get to know the artist by offering to share your work with them before you ask to license music. You never know; a little legwork can go a long way.

Don’t forget about your trailer!

In the past, I’ve been successful at asking to include publicity and advertisement use when I’m licensing an entire album or multiple songs from an artist. If you have a lower budget, is there a band that’s not as known or a singer who wants to get a song to a broader audience?  They may be willing to let you also license for publicity and advertising.  

 If you have any questions, please contact us at info@fourwindfilms.com  We’re happy to answer a few of your questions or work at licensing music for you for hire.

Copy Editor - Piper Werle

Create a Mood With Your Playlist By Treating It Like a Menu

A sensory approach to making a killer playlist or soundtrack.

By Jane E. Werle

Create or Share a Mood

Have you ever had a very specific craving? Pork rinds, peanut butter pretzels, pimento cheese, pizza bagels, parmesan crisps, potato chips — whatever it is, that’s the only thing that will do. Because fulfilling what you are in the mood for can be greatly satisfying.

Setting the right mood for your event, film, or video, is critical to its success. So when creating your playlist or soundtrack, consider whether you are trying to express a mood that you are experiencing, or creating a mood you wish others to experience. Then think about food. Then think beyond snack food. Imagine your playlist is a dinner party menu.

Structure Your Playlist like a Menu

Your menu consists of the main course (pulled pork, mango-chickpea curry), an appetizer (Caprese bites, vegan seven-layer dip), side dishes (grilled asparagus, Chex mix, fresh bread), dessert (chocolate avocado raspberry pie, coconut chips), and a surprise or treat (sparkling wine, bacon-wrapped dates).

Your main course is your theme. It might not be your favorite food, but it appeals to (or can be eaten by) most of the folks in your dinner party, and it is both delicious and kitchen-tested.

Your appetizer is the first thing people get to taste, and plays well with your main dish, but has a different feel and level of accessibility. Whether you are facilitating an evening of good food your guests didn’t have to cook, or an experience they couldn’t have on their own, you want them to participate and to enjoy doing so. The appetizer is your opening play and sets you all out on a particular path. (Note that I am focusing on providing a desirable experience, but this idea could be extended in other emotional directions such as fear [SCOBY finger food] or self-examination [plain-flavored popsicles]).

Your side dishes either do something your main dish can’t, or expand on its effects in order to provide a more well-rounded menu. Dessert is for scratching that itch that nothing else yet has, and the surprise is for fun.

Pick Your Tracks

Enter into your planning with a sense of zest. There are so many possibilities, and you get to curate them for your pleasure and that of your friends/audience. What do you look forward to hearing? What songs are new to your “liked” list? Do you have a go-to artist or track? What track has a section that stirs you? What else sounds like that?

Once you have something in mind, you can think about what purpose it serves, or what vibe it encourages. Is this a main dish (thematically strong enough to carry the mood)? A juicy surprise (no one but you would have picked that song next!)? The way you want to start the evening (an appetizer that is a crowd hit)? The way you want to end it (a dessert to linger on the palate)?

Then consider the roles you have yet to fill, and how they relate to each other. When you think of (or hear) one element, what feels like it should come next? If someone were making or playing this for you, what would you expect to eat or hear after it?

If your mind remains blank and your planning is going nowhere, think about your friends (or audience) and what they like. If you were their short-order cook (or deejay), what would they request?

Perhaps you have the opposite problem, and your list of possibilities is too long. Try going back to where you started, that first thing you felt sure about, and examine your list for what fits the very best.

Enjoy!

The very best fit could be what is most exciting, or most challenging, or most familiar. Try things on-- listen to them together. Alternatively, you can look at what you’ve assembled and divide it into sections (part one is uptempo, part two is downtempo) of an ongoing series of amazement, designed by you. You decide, it’s your party.

You may find Jane E. Werle stomping in a rainstorm or starting a dance party, if she’s not writing and editing for nonprofits or advocating for kids. Colorado-based, Jane prefers naps to marathons but is happy to go backpacking or sit in a creek. Jane received her MFA from Naropa University and is a frequent contributor to Presenting Denver, a comprehensive resource for dance in Denver and along the Front Range.

If there are questions you want to be answered in a blog post, let us know at info@fourwindfilms.com, or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

10 Great Queer Films to Add to Your Watchlist

By Danielle Earle

It's that time of the year again. Pride Month — a celebration of unity, self-love, identity, and all things Queer — is coming to a close. 

But just because Pride is ending doesn’t mean that we should hit pause on celebrating the LGBTQIA+ community, so I put together a list of ten of my favorite Queer films to watch throughout the year. Whether you are part of the Queer community or want to become a better ally by watching more of the countless stories outside of the heteronormative experience, this list is for you.

Photo by Nate Isaac on Unsplash.

1. Watermelon Woman (1996) Directed and written by indie veteran Cheryl Dunye, starring herself, Guinevere Turner, and Valarie Walker. It’s considered the first feature film written and directed by a black lesbian. How cool is that? Watermelon Woman tells the story of a queer video store clerk / aspiring documentary director who is working on her passion project about a Black actress in the 1930s known for playing stereotypical “mammy” roles. If you are looking for some light humor and romance in documentary style, definitely check out this film. 

Currently streaming on Fandor, Showtime, Fandor Amazon Channel, Showtime Amazon Channel, fuboTV, DIRECTV, OVID, and Kanopy, which you may be able to use for free using your library card, or if you are a student or professor. 

2. Holding the Man (2015) Directed by Neil Armfield, starring Ryan Corr, Craig Stott, Anthony LaPaglia, Guy Pearce, Geoffrey Rush, Kerry Fox, and Sarah Snook. This movie has it all, and it’s shocking that it was never nominated for an Oscar. It’s Love Story meets The Way We Were. It’s a heartfelt, emotional rollercoaster of a feature film. It’s based on actor Timothy Conigrave’s bestselling memoir “Holding the Man,” about an intimate relationship with his longtime lover and companion John Caleo, which spanned 15 years during the AIDS epidemic. You’re going to need a lot of tissues to get through this movie. 

Currently streaming on Netflix and realeyz. Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, and YouTube. 

3. Six Dance Lessons in Six Weeks (2014) Based on a play by Richard Alfieri, directed by    Arthur Allan Seidelman, starring Gena Rowlands, Cheyenne Jackson, Julian Sands, Jacki Weaver, Rita Moreno. It’s a comedy-drama set in South Florida about an older woman who hires a dance instructor to give her private dance lessons at her condo. What begins as a work relationship disaster between Lily (Gena Rowlands) and Michael (Cheyenne Jackson), slowly turns as the art of dancing sways them closer together as friends. The story quickly takes a turn where we discover that both hold a secret. I highly recommend this cute LGBTQ+ comedy for you if you’re in need of a quick pick-me-up. 

Currently streaming on Amazon Prime Video or for free with ads on The Roku Channel, and VUDU Free.  Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube online and to download it on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube.

4. Stage Mother (2020) Written and directed by Thom Fitzgerald, starring Jacki Weaver, Adrian Grenier, Lucy Liu, Mya Taylor, Anthony Skordi, and Allister MacDonald. This film was everything to me. It is definitely a relatable story for chosen mothers and their loved ones. In the queer community, the bonds of chosen families are so unique and heartwarming. After a Texas church choir director inherits her son’s drag queen Club in San Francisco, she is faced with her son’s past — his life’s work as a drag performer. She eventually forms a tight bond with his chosen family who was by his side at the time of his death. 

What I love about this film is it features Black trans visibility in the drag world, and the beautiful oil and water relationship between Nathan (Adrian Grenier) and Maybelline (Jacki Weaver), as well as the unexpected love triangle between Maybelline, August (Anthony Skordi) and Jeb (Hugh Thompson). If you are looking for a nice, mellow fun comedy to watch, check out “Stage Mother.” 

Currently streaming on Starz, Starz Play Amazon Channel, DIRECTV. Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand.

5.  I Love You Both (2017) Written and directed by Doug Archibald, it tells the story of Krystal (Kristin Archibald) and her twin brother / gay roommate Donny (Doug Archibald). Their friendship eventually takes a downward spiral as they fall in love with the same man, Andy (Lucas Neff). This film is brilliant because I haven’t really seen anything like it since The Object of My Affection starring Jennifer Aniston and Paul Rudd. “I Love You Both,” is not your traditional love story. Actress Kristin Archibald is hilarious and I’m surprised that this was her first acting role in a motion picture. I can’t wait to see what she does next. The theme of the movie kind of reminds me of the line from When Harry Met Sally about how men and women can never be friends, as the same phrase can be applied to members of the LGBTQ+ community and straight people. Sometimes love stories may not have a happy ending but they do have a new beginning, and this film captures the beauty of it all and for all audiences to relate to. Doug Archibald did a fabulous job directing this indie flick. Oftentimes, gay men and lesbian characters are cast as the gay best friend, without the onscreen romance or leading role. It’s great that he created something for everyone, expressing gender fluidity as the norm. The way that it should always be. 

Currently streaming on Amazon Prime Video, Hoopla, or for free with ads on Tubi TV, VUDU Free.  Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube, Redbox, FlixFling online.

6.  Pariah (2011) Written and directed by Dee Rees, starring Adepero Oduye, Aasha Davis, Kim Wayans, and Pernell Walker. The film is about a closested lesbian teen who goes through hurtles toward self-love and self-discovery. It’s a heartbreaking film that I feel is important for everyone to watch. It’s a story that I’ve rarely seen told, where the Black lesbian character is the main focus in the film, as well as showing a love story between two black queer women, without it being stereotypical. I really appreciated the fact that Rees created characters that show the LGBTQ+ community in its truest form. Rees created a world of her own, but through a lens that is universal that people of many different experiences can relate to. Kim Wayans plays a religious mother who eventually comes to grips with accepting her daughter's sexuality. The film also sheds light on the pain and oppression that our POC LGBTQ+ youth go through every day. Not only are they often rejected by some religious organizations, but they also deal with homophobia. The concept and plot of Pariah deserve a lot more praise than it has gotten. If you are looking for a groundbreaking drama and coming-of-age story, definitely watch Pariah.

Currently streaming on Netflix. Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, or DIRECTV.

7. Ahead of the Curve (2020) This is an amazing documentary about the rise and fall of the #1 bestselling lesbian magazine, directed by Jen Rainin and Rivkah Beth Medow. I remember living in San Francisco as an Academy of Art student, ordering my latest copy of Curve Magazine and reading it in my dorm room. Magazines were my escape as a young adult at the time, before the driving force of the digital world. This film is a beautiful tribute to magazine owner Frances “Franco” Stevens, a woman who was forced out of her home after coming out as a lesbian, and later launched an empire for all queer women. 

Currently streaming on Starz, and Starz Play Amazon Channel. Possible to buy or rent "Ahead of the Curve" on Apple iTunes, Google Play Movies, Vudu, Amazon Video, FandangoNOW, or YouTube.

 8. Giant Little Ones (2018) Written and directed by Keith Behrman, starring Josh Wiggins, Darren Mann, Kyle MacLachlan, Taylor Hickson, Maria Bello, and Peter Outerbridge. Giant Little One tells the story of two high school friends who experience one night of passion that shifts their lives forever, leading them to sexual discovery. Actress Maria Bello was the highlight for me for obvious reasons, because she is so talented and underrated. She plays the hip mother of Josh Wiggins’ character, Darren. I’ve loved Maria since watching The Sisters (2015).

Currently streaming on Starz, Starz Play Amazon Channel, DIRECTV.  Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, or AMC on Demand.

9.  A Fantastic Woman (2017) is directed by Sebastián Lelio, and stars Daniela Vega, Francisco Reyes, and Luis Gnecco. It tells the story of Marina, a transgender waitress, and singer, who is grieving after the death of her lover Orlando (Francisco Reyes). The cinematography in this film is breathtaking as well as the performances by Daniela Vega and Trinidad González. It’s an important film for the LGBTQ+ community and allies to watch. 

Possible to buy on Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand as download or rent it on Google Play Movies, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand online.

10. The Death and Life of Marsha P. Johnson (2017) I wanted to save the best for last. This documentary is directed by David France and stars Victoria Cruz. It’s about an ongoing investigation of the mysterious death of one of the leading Stonewall activists, the legendary Marsha P. Johnson. 

This documentary will literally have you at the edge of your seat. It’s a murder mystery where you find yourself torn apart by the injustice and police brutality against the trans Community. The doc also captures the ongoing divide between trans women and the Gay community and the lack of acknowledgment that the founders of the Queer Liberation Movement were trans women of color. It’s a documentary that sheds light on the resolution that we have a lot more work to do in 2021.

Currently streaming on Netflix. 

Follow Danielle Earle on Twitter, Instagram, and on her company’s website, PL Entertainment LLC.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Why I Make Art: A Personal Manifesto

By Justin Joseph Hall

“Artist” is such a vague term I usually don’t like to use it. Maybe that’s also an aversion I have from growing up in the Midwest where artists are often scorned or mocked as high-society.  First of all, an artist has nothing to do with class or the amount of formal education someone has.  My definition of making meaningful art is perfecting details of a piece of artwork.  This means putting in the time to place every detail in the way that is “perfect” to the artist, and the artist alone.  A skeptic may say that certain steps in the creative process are not important, but anything that leads me to a better way to communicate or express through the language of my art clearly is important to what we call the artist’s process.

To me, an artist is someone who can speak towards a subject in a new light using context and setting. They can express complex or emotional ideas through their individual medium because they are often difficult to express with language in general conversation.  By speaking through a medium, I am able to release what I want to say in a different context that I define as an artist. 

Creating an artwork is a form of communication that can be larger than daily dialogue.  It brings people together to have an emotional experience that the artwork evokes within the audience.  The individual audience members can take an emotional cue from the artwork based off their own life experience.

Freedom - Photo by Justin Joseph Hall

When I am creating artwork such as a film, if I am not precise in my decisions then the artwork runs the risk of saying nothing.  Or worse, saying something with an unintended impact.

The creation of great art is an understanding between many human beings as another form of language.  It is developing a unique language through an artist’s process for ideas and emotions that words cannot express.

I’m not advocating that every detail in every piece of art is planned. It is not.  Some of the variability is actually controlling what is random.  Just take Jackson Pollock.  He used gravity and physics of splashing paint part of his expression because he thought it was meaningful.  He controlled how the paint was flung, but the tiny details he left to physics.  Jackson Pollock let us see physics in a new way expressed through paint.

Now I’m not a painter, I am a director.  How does this variability apply to directors?  Often, as a director, the medium we help deliver our story and our message is through actors and crew.  These people are usually very intelligent and skilled.  I like to give the people I’m working with room to express what they believe the story is and be open to their interpretations.  This way I’m guiding a cinematographer or an actress in a direction with boundaries.   In this way, like Pollock gave freedom to the paint falling by releasing it at a certain point in the air, a director has many opportunities for a creative team to be released into their work in an organized manner.

The details of the world an artist creates is important, and so is being specific about which details to focus on.  One of my biggest lessons was a mistake I made editing a short comedy.  I left a lot of jokes in a scene because I thought the actor was hilarious.  However, I left in too much of his individual performance and didn’t pay attention to the flow of the story.  There are so many jokes in a row that the audience only laughs at half of them.  On top of that, they laugh over some of the jokes. This is distracting and makes the film feel too long.  Because I left in too much material it made the movie worse even though I consider the material I left in as great.

This can happen in any genre. For example a horror movie can make the mistake of not leaving silent time for sound design and music that is integral to scare people. In a documentary, a mistake would be packing in too many facts without giving the audience time to process.

These details are hard to spot and take time and practice to notice.  One has to change their mindset from minute details such as the individual edit, to a larger detail of the big picture of the story.  This idea is applied to film here, but can be applied to other mediums. Imagine making the fingertips perfect on the Venus de Milo and in the end realizing the statue is better without any of the arms or hands.  Or recording a 2 minute amazing guitar solo but having to cut it out because it doesn’t add to the melancholy feeling you are trying to express in the rest of the song.

It’s important not to compromise on the core expression of artwork over small details; but that doesn’t mean an artist can’t collaborate.  Just as McCartney and Lennon collaborated with each other, they had disputes, but they found how to focus on what’s important to each individual artist.  It is important to work with other artists who don’t compromise the main expression in one’s art.  Sometimes it takes time to find what you are trying to express, but the best collaborations help enhance the communication at the core of the artwork.

Brooklyn in Manhattan - Photo by Justin Joseph Hall

It’s important to work with people who do not impede your message. Don’t compromise with those who pay you to create to sacrifice what you believe in.  If you do, you are compromised as an artist as long as you participate in suppressing your beliefs in exchange for money.  I think this is important to keep in mind.  If you care more about money, no worries, then you are a commercial technician for someone else, which is totally fine and respectable in itself, but it is not creating art.

Money is always an important consideration and you need to pay the bills, but I’d suggest if a collaboration isn’t helping you become better at expressing what you want to express, you will be replaceable because you’re not refining what is of value for you.  So if you have to take a job that doesn’t go along with your ideals due to money conflicts, make sure you’re being more adequately compensated for your time so you can have enough money to work towards not needing to make that kind of compromise in the future.

I could not find a job for about 2 years and only found part-time work for 5 years in a row in the field I wanted to be in: editing film.  But I held to my ideals of quality and preservation for the future when finishing films.  Everyone told me over and over the quality didn’t matter and no one cares, but I did.  I took the time to make everything right and you know who cared in the end?  Companies who were making incredible films, HBO, PBS, and so many other networks.  Taking the time to perfect my personal workflow was worthwhile.

For example, I believe in diversity of perspectives in problem solving as well as preserving our environment.  I had to be honest in an interview when applying for a documentary that had to do with bringing a power plant to a nearby neighborhood.  The project ended up being a propaganda piece and it would not have been helpful to me or anyone if I took that job for the money.  Instead, I honed in on my craft and I began working with Downtown Community Television, a documentary company that believes in diversity and social change.  We’re a great match, but it took time to find a collaborator that didn’t conflict with my core beliefs in my work. 

The final touches in a project make it meaningful.  Those final touches are sometimes the hardest part of a project to finish. For example, whenever I edit a scene I work on individual cuts 10-50 times in an edit if I’m trying to make a difficult cut smooth.  This is so I watch each frame and scene enough to process how everything emotionally relates to one another.  This is important because emotions are fluid and in storytelling, we often take the audience for an emotional ride, but that means gradual changes.  Small distractions can take you out of that emotional ride and bring you back into reality.  An example could be a hand that’s out of place in one shot to the next, or blinking eyes not matching within a scene.  Adjusting these tiny details on each and every cut makes sure the audience is not distracted by something being “off” that takes them away from the story.

This may not pay off in the short term, but in my experience, concentrating on my own voice, uniqueness and expression paid off in the long run.  Because now I have concrete examples of expression that is unique to me and my style.  This enabled me to offer that skill to anyone that I work for and has found me more collaborators to work with and create final products that make me proud to be an artist.

Security - Models Isabel Restrepo & Lauren Thompson, photo by Justin Joseph Hall

Finding Your Voice as a Woman of Color Producer in the Film Industry

By Danielle Earle

Photo by Kelly Fournier on Unsplash.

Finding my voice as a Black woman in the film industry was a challenge for me. Experiencing prejudgement in a sea of white creatives was the last thing I expected, but that was the reality. 

Trust Your Vision and Create Your Own Opportunities

I continue to strive for a seat at the table. At times, the sea of white creatives assumes that having a seat at the table for a person of color means serving, volunteering without a sense of self-worth. So, what do we do? What do we do as black actresses, directors, and writers? How do we find acceptance? We form our own opportunities. We learn to value self-worth and continue to fight back with a shield placed against our hearts. That shield is a vision that holds clear in our minds which is our superpower. 

In 2010, at the age of 26, was when I finally found a sense of self-value. I knew I wasn’t meant for corporate America, and the Arts were the only place that I could call home. 

For years I never felt my voice was worthy for art, for love, or anything for that matter. Films were my escape, my adventure to the unknown. Ten years later my voice became stronger and I created my film production company PL Entertainment LLC.

There were not many filmmakers that looked like me, nor were they the same gender. The majority of them were white males who were getting the financing and support. For Black women, finding the resources back then was slim to none.

Don’t Let Yourself Be Stereotyped

I remember going out to events and explaining about my little, no budget series, Brooklyn Is In Love and having a response from a white creative who said, “This series will never get noticed. This is not what people are looking for.”  A Black male creative said, “You need more diversity.” 

When I produced my first LGBTQ Feature film,  I got criticism from several members of the white LGBTQ community who said that it was ironic I had white actors in my film.  I felt judged rather than celebrated as if it was taboo as a Black writer to write white characters. As if women of color (WOC) within the LGBTQ community are not equipped to create queer content for white America. Or there’s a sense of surprise that my work doesn’t fit under the landscape of the general stereotype for Black women in the gay community. That there’s no way I’ve lived similar experiences as them.

When I produced Brooklyn Is In Love in 2011, New York was a dead town. Post Grads were sleeping on the streets of Manhattan with no job and no security blanket. Artists were struggling to save enough for rent the next month. In the midst of it all, I was in the center. Watching it unfold, behind a lens. 

So I decided to make art from crisis to give us a sense of hope. Since the launch of episode 1, the view count exploded. I was getting emails and comments online, praising the show. At first, it was like lighting a match in the dark and waiting for a spark. The spark happened and that’s when it became real. 

You’re in a position as a woman of color producer, whether you are queer or straight. You have to continue to prove yourself. When I entered the doors and signed my first contract at the Guild after the success of the series, it made me realize that this was my new journey. 

Collaboration is Key

Photo by Christina @ wocintechchat.com on Unsplash.

The best way I found to do it is by creating the platform yourself, and navigating a maze of possibilities. Yes, there are roadblocks, but there are ways around it. Collaborating is the answer. 

At 26, I was a very stubborn late bloomer. Over the years, I learned to find my community of people that valued my self-worth through financing, support, guidance, and collaboration. Collaboration and networking are key to a continuous road of achievement. 

Another tip for finding your voice is to always keep an open mind when collaborating. There will be times when the idea may change or shift. Don’t be afraid to speak up to your team. Yes, as Producers we strive to stay relevant. We need it. We crave it, and it’s totally natural, but don’t let it take you over. Invite people into your heart and creative world, because that is the only way you will grow. 

Remember there are so many writers looking for an opportunity, and they need a good producer like you to help them get their work seen. It’s about passing the torch. Once you reach a level of acceptance, it’s the greatest gift in the world as a creative. 

Know Your Worth In Dollar Signs!

When you are negotiating a contract, whether it is as a producer, director, or writer, don’t be afraid to tell them your self-worth in dollar signs. Black women in the industry have always had to settle for less, and in 2021, it is finally a year of celebration for Black Art. If it doesn’t go in your favor, there is always another opportunity waiting for you.

WOC Producers, continue to show your worth to the world, and never be afraid to show your bright light. It’s never too bright because you are the reason for the change, for the progress, and for the next generation of WOC Producers everywhere. 

Follow Danielle Earle on Twitter, Instagram, and on her company’s website, PL Entertainment LLC.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

The Kids are in the Picture, Part 2: Production

Tips for working with children on set

By Elizabeth Chatelain

This is the second article in a 2-part series about working with child actors. If you haven’t read the first part yet, read it here. 

Rehearsals

Serenity Gress (Jenny) and Elizabeth Chatelain (Writer/Director) on the set of Sundogs (Photo Credit: Caitlin Prentke).

 So now you have decided which kids you are going to be working with. The next step is rehearsals and production. In the first rehearsals, I am really just trying to make the child comfortable around me, to trust me. I usually invite the parents at least to this first rehearsal. We talk about what the child likes in school, their family, etc. And I share that about myself with them. I also ask them how they would describe their character, so we are on the same page. In Paper Geese, I introduced Payson, who played the lead character Rowan, to the geese we would be using in the film. They were in my mom’s backyard. Payson immediately responded to them and became more confident in her interactions with me.

Payson Jane (Rowan), Elizabeth Chatelain (Writer/Director), Alejandro Mejía (Cinematographer) on Paper Geese (Photo Credit: Taylor Thompson).

 Depending on the child actor’s age, I will also play some acting games with them to start. As in the audition, I encourage them to use their imagination to act out a number of different scenarios. If they are old enough (about 8-9 and older) we will also go through the lines on the second rehearsal. We’ll talk about what the character in the story is feeling from scene to scene.

 Emotionally mature kids will be able to read the subtext of what is going on in a scene between characters with a little guidance. When I worked on Jenny and Steph in rehearsals, all three of the girls in the main roles grasped this almost immediately. Jenny was twelve, Steph was fourteen and Rose was fifteen. I had them act out the scene using subtext for their lines instead of what was written. And I was shocked that they did it with such ease. They had a profound understanding of what the characters wanted from one another. I find that having at least three or so rehearsals with actors, especially children, is fundamental, unless working with a small child. Again, the goal is to get them comfortable with you, because once all the people and lights are up, it has the potential of being intimidating. That’s another reason why I usually limit the crew to a small number. That way it is more comfortable for the kids.

Kathryn Kingsley (Mother), Elizabeth Chatelain (Writer/Director), Hudson Kingsley (David) Payson Jane (Rowan) on Paper Geese (Photo credit: Taylor Thompson).

 Working with Children 7 and Younger

 When working with my niece, Serenity, who was about four years old at the time, her mother was always in the scene with her (this was a mother/daughter story). She also knew me quite well already. This created a safe space for her. We didn’t do any rehearsals with Serenity before shooting Sundogs, because in her case, it was better that she didn’t think too much about what is going on from one scene to the next. It was best to keep her present and fresh. As a four-year-old, you hit your limit of takes pretty quickly, and in general, the first couple takes are usually the best. I would say this is also true when working with non-professional actors; in later takes they grow more self-conscious, which leads to a feeling of inauthenticity. 

Kathryn Kingsley (Mother), Elizabeth Chatelain (Writer/Director), Hudson Kingsley (David) Payson Jane (Rowan) on Paper Geese (Photo credit: Taylor Thompson).

Compliant Scheduling

The other thing to take into consideration when working with children in films is the time restraints that you have, especially if the production is SAG. You also have to research the child labor laws, which differ from state to state. This is another deterrent that makes filmmakers wary of working with children. Kids can only work a certain number of hours, dependent on age, and if you are shooting during the school year, you must provide them with a tutor. Short films can work with this a little bit more easily – shooting on vacations or during the summer, allotting 5-6 days instead of 3. I found this has also been easier on the crew, even if you have to pay a little more for lodging and meals. Everyone feels more rested and less stressed. Children can easily detect a negative vibe, so you want everyone to be in a good mood if possible.

Payson Jane (Rowan) on Paper Geese, (Photo Credit: Taylor Thompson).

 Effective Communication

 The last thing I’ll mention is the filmmaker’s communication with the kids on set. You never want them to feel like they are doing another take because they “screwed up” or this will lead to more anxiety and less authentic performances. Make sure to say something positive after every take and give them direction that is just a little “different” rather than “right.” Encourage them as much as you can. Acting is already full of rejection so you want them to know they are doing a great job, which they most likely are. They want to do well as much as you want them to do well. So make sure to communicate with them after every take. The big takeaway here is that in order to have the best performances from kids, make the set a comfortable and safe place in which they feel nurtured and appreciated. They are just as important as anyone on set.

Elizabeth Chatelain is an award-winning writer and director from North Dakota. Her feature screenplay SUNDOGS participated in the Berlinale Script Station, the Hedgebrook Screenwriter’s Lab, and was an Academy Nicholl Fellowship Semi-Finalist, Atlanta Film Festival Screenplay Competition Winner, and Showtime Tony Cox Screenplay Competition Winner. Follow Elizabeth on Instagram @emchatelain and at her website, elizabethchatelain.com.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.