Enjoy this next installment of our “Behind the Scenes” series for The Storyteller! Watch this one to learn more about the design of the film from expert Jamie Follis.

The term was originally used to describe the visual design of a theater production; literally what was on the stage. With the advent of film, the expression was expanded to mean the visual design of everything that’s captured by the camera, including the actors, the sets, the lighting, the framing of the shot, props, costumes, etc. If the camera sees it, it’s part of the mise-en-scène. The physical design of a film’s mise-en-scène is brought to life by the Production Designer.

The Production Designer is the head of the Art Department and works with the Director to design and oversee the visual atmosphere of the film. This includes set building, set dressing, and props. They bring to life the world in which the story takes place. This look is catered to both the story and how the filmmaker wants to visually express that story. Think about it: a Tim Burton period piece will look vastly different from a Joe Wright period piece.

So how does one find a Production Designer? Well in the case of The Storyteller, Director Joe Crump didn’t have to look far.

Joe approached Hamilton Southeastern HS, where I work. I teach history and run a film studies program and film production company where students come together to create completely original feature length films. We met to discuss the project and Joe found out about my side career as a sculptor/artist, so my involvement grew from there. - Jamie Follis, Production Designer of The Storyteller

Check out this featurette on how Director Darren Aronofsky worked with his Production Designer, Thérèse DePrez to create the look for the Academy Award Winning Black Swan.

We met and discussed certain films that had elements we both liked. Joe had some ideas and I read the script and came up with my own as well. I am also well versed in history, art, and mythology as I teach those subjects at HSE HS. Those would come to be strong influences. We met and my ideas were received well; we ran with them in some cases, and in others I found a way to give Joe what he wanted, or we found ways to blend both what Joe wanted and what I envisioned to create something even newer and better. – Jamie Follis, Production Designer of The Storyteller

During pre-production a Production Designer’s duties include:

• Reading the script and breaking down all the visual aspects that will go into the film. These include: locations, set design, and props
• Determine with the Director if there is there a visual theme that is apparent in each location? (As noted in the above featurette: every set took on an aspect of Swan Lake)
• Determine with the Director if CGI should be used to aide in the creation of the design (will green screen be needed?)
• Create designs conveying the mood, lighting, color and indeed texture of the film. These will be distributed to the rest of the art department
  • Once created, technical designs will be generated so that any construction that needs to be completed can be planned

In deciding what the film will look like, all decisions are based on the idea that the Director and Production Designer are on the same page as to what atmosphere they’re trying to achieve. In the case of The Storyteller, that look came together from a lineage shared by both Director Joe Crump and Production Designer Jamie Follis.

The film had a lot of celtic influences which were very personal to Joe and his wife Nancy. I am also of Irish descent so there was no real communication barrier. I understood what they wanted and loved including those things where we could. Joe really wanted that magical fantasy element and I discussed the Romanticism era and its reverence for nature as being potential influences. I liked the idea of a magic that is devoid of the more fantasy elements of today’s pop culture and draws from more of the celtic druidic folk beliefs of magic and the wonder, awe, and nostalgia they held in the post-industrial era; Joe agreed whole-heartedly. – Jamie Follis, Production Designer of The Storyteller

Once production begins the Production Designer:

• Works with those in the Art Department to coordinate schedules and monitor the (art) budget
• Monitors what upcoming locations are being built and the status of those sets
• Arrive on set early to look over the location with the Director and Director of Photography – Assess the camera set-ups and go over what part of the set needs to be dressed and what props will be needed.

Did You Build It Or Did You Find It?

Shooting on a set involves much more work on the designer’s part. You are starting with a blank canvas, in most cases, and you are bringing in symbolism, imagery, color, and textures that represent the mood or character. You have much more control and ultimately a much more personal and specific look. Actual locations are often chosen because of the look they already have. You also have much less control because you can’t move a tree or paint a building (at least on this scale). The canvas is in many ways 90% done, and you can bring in some small elements to emphasize things. - Jamie Follis, Production Designer of The Storyteller

We’ve talked before about Locations and Tech Scouting. A Production Designer’s job differs whether you’re working in a Practical Location - an existing location – or creating your location on a Stage. But regardless of the type of set, the Production Designer always works with the Director of Photography so that the frame has everything it needs. In the case of The Storyteller, this led to an interesting lesson for Jamie Follis.

Our DP, Dan Clarke, has been amazing. I have learned so much from working with him. We talked very briefly before production began. But during production I worked with him a lot as the shots are being planned and set up. We talked about colors and placement of things. We also discussed wanting to fill the negative spaces to not distract the audience, but no so much that we inversely distract by being too busy or looking cluttered. I basically plan the space, place my pieces and props, and then we move them slightly to give the greatest impact. I have learned to always have a few pieces not placed, that I put up after the shot is set up. - Jamie Follis, Production Designer of The Storyteller

Most films involve some set building and some use of actual locations. But just because the location is built, doesn’t mean it can’t have a fantastical element. Check out this featurette (worked on by yours truly) that explores the amazing world created for Joe Wright’s adaptation of Anna Karenina.

By definition a tech scout is an on-location walk-through with your production’s department heads – think director, cinematographer, UPM, 1st AD, production designer, etc. – ahead of shooting at that particular location. This walk-through will give each department a chance to familiarize themselves with the location and the challenges it may bring. In other words, it’s a final preparation of the technical logistics associated with each major shooting location.

So, with terms like “department heads” and “technical logistics” being thrown around you’re probably thinking that a tech scout is something reserved for big budget movies, right? Wrong. They most certainly do it, but if you’re helming a low-budget indie production, you probably have even more incentives to do a tech scout before your shoot. Ask yourself this: Can I afford to rent my location for an extra day, if I encounter unforeseen circumstances? Will my lighting package be able to compensate for any changing conditions? Do I have the necessary means to do extensive ADR on noisy takes? No, you say? Then you better plan ahead.

Typically you will do your tech scout during prep week, about one week prior to the actual shoot, when all department heads are able to get together and finalize their preparations. However, if you have access to your locations even further ahead of time, there are benefits to visiting them.

During pre-production Joe did some initial location scouting and we rewrote scenes once we understood the layout and limitations of the locations available to us, so the script reflected accurately the locations we will be using. – Rachel Noll, writer/producer of The Storyteller

Once you have the script locked in, locations secured and shot lists made, you do the full tech scout of all major locations.

Producer, DP, Director, 1st AD, Production Designer, UPM, gaffer, key grip – they were all there. We wanted to make sure all the heads were clear on the limitations and possibilities of any given location, so we could all plan accordingly. Any limitations on power outlets or lighting sources, etc. we wanted to be able to make a note of, and also have an eye on the production design, possible areas for actor holding, for makeup and hair, and other details, so we were prepared come the day of the shoot. I think all the departments can benefit from a scout prior to the shoot, just to know what they are up against and to be able to plan contingencies or brainstorm creatively if things aren’t ideal or there are any surprises. – Rachel Noll, writer/producer of The Storyteller

Let’s break it down.

Producer – will be working with each of the department heads to accommodate any changes in budgeting due to the limitations or possibilities uncovered during the scout.

DP – will be making sure the planned camera movements will be possible. Are there narrow corners to turn? Will there be shots in harsh light? Your DP might change certain shots to accommodate the locations and retain the overall visual aesthetic.

Director – will be balancing the vision of the film with the circumstances and making any necessary changes in shots to stay as true to the original intentions as possible.

1st AD – is largely in charge of scheduling, background actors, callsheets and script breakdown, so any changes to either of these based on the limitations of the location will be noted and arranged accordingly. Is there a proper holding area for the background cast? Will shooting have to wrap an hour earlier than anticipated due to traffic conditions in the area – and what does that mean for the callsheet?

Production Designer – takes note of anything that needs to be dressed for the shots planned and anything on location that will add to or subtract from the environment she is trying to create. Also pay attention to details like whether the centerpiece executive boardroom conference table that’s been rented for a certain scene is able to fit through the doorframe and whether the colors of the the costumes are going to clash with the wall color.

UPM – the Unit Production Manager oversees all the off-set logistics, as well as day-to-day budgets and production personnel, so if a certain location calls for more lighting than initially planned for, the UPM needs to make sure this can be made available, is budgeted and operable with the hired crew – or make the necessary changes.

Gaffer – is the chief electrician on set and will need to make sure there are adequate power sources for the lights that will be brought in. Will a generator be needed? Are the outlets on separate circuits? What’s the maximum load for each outlet?

Key Grip – will in large part be responsible for making the director and DPs wishes come true, so if there is limited space on set or a shot calls for more equipment than can safely be utilized in a certain location, adjustments must be made in advance.

All of these obviously work together, which is why the tech scout is best done with all department heads at once and not separately. Filmmaking is a collaborative process and the tech scout is the perfect opportunity for everyone to contribute in order to make your film the best it can be.

Not only is it an important part of the final stages of pre-production, the tech scout is also a hell of a lot of fun – it’s great to get a chance to know your crew and to be impressed by what they do. And doing the tech scout also means that we are just days away from shooting – at last. – Joe Crump, writer/director of The Storyteller

In some cases you will need to do your tech scout months in advance, so every single aspect of your shots can be meticulously planned and rehearsed, like for the 2015 Academy Award winner Birdman. Because of the extremely difficult long shots used throughout the film, the crew prepared by drawing up a minimalist (but to scale) version of their theatre location in a warehouse and used that space to rehearse camera movement, cast movement and lighting for weeks before the actual shoot. Imagine pulling this off without diligent planning:

Follow the entire process of making a film – up close and personal – through the trials and triumphs of The Storyteller, as told in our on-going article series.

Academy Originals is a treasure trove of film knowledge presented documentary-style through interviews with directors, cinematographers, producers, master craftsmen, set designers, consultants, actors – anyone playing a part in creating movie magic. The videos are grouped into categories like ‘Moments That Changed Movies’ or ‘Credited As’ – each exploring the movie-making process from a different perspective.

This is truly a rabbit hole to get lost in, if you have any interest in getting behind the scenes of some of the most groundbreaking films in modern history.

Here are some of my personal favorites.

When I watched Nerdwriter‘s video essay on the subject of intertextuality and how it’s become Hollywood’s new currency, it was with a bit of d’uh attitude; I had been thinking about this for years and I always let out a slight tsk whenever a new film throws in callback after callback to (mostly better) works that’s come before it. But what Nerdwriter does an excellent job of pointing out is that it’s not all bad. From a financial stand-point, the franchises and shared universes flooding the cinemas right now are fairly safe bets. Which is understandably important when the bet is on a 2-300 million dollars production budget. But more importantly, when it’s done right, the use of intertextuality can add humor, drama and a connection with a viewer – you feel like you’re in on an inside joke.

So after watching the video, my wheels kept spinning. Take away the big-budget financial speculation, the setting-up-for-sequals, the cheap thrills of recognizing a character or image – and what you have left is a filmmaking tool for creating familiarity and instantly eliciting certain emotions. I will, for one, be more aware of the impact of this ‘weaponized intertextuality’ in my writing and not simply brush it off as a dirty trick used by Hollywood blockbusters. Because moments of familiarity is good, especially when the material is fresh and foreign.

Watch the video essay below and be sure to subscribe to Nerdwriter’s YouTube channel.

And while certain aspects of camera movement, dialogue, lighting, etc. can be hashed out on set, sometimes just minutes before the cameras are rolling, you don’t want to take any chances when it comes to pulling off those visual FX that are really gonna sell your story. It’ll be too time-consuming and if a certain effect is not playing on camera the way you anticipated, you might not get the shot you need – let alone the shot you want.

In the case of The Storyteller there’s a magical realism that imbues the story with a certain mood, sometimes even moving the characters forward, informing choices and plot. In certain scenes, this magical realism is manifested by fairies. But how do you successfully pull off showing fairies on camera, when you’re working on a limited budget and don’t have access to the bells and whistles of high-end CGI? Or perhaps more importantly, when you don’t want to use high-end CGI, but rather have your actors interact with practical effects on set? Well, you think, then you experiment and then you plan accordingly.

When faced with the challenge of creating organic, realistic and practical fairies for The Storyteller, the team (producers, director, writers, actors) came together for a visual FX test – and 20 Questions Film tagged along for some behind-the-scenes video:

Let’s break it down. The filmmakers wanted to create a small, moving light source, ethereal and whimsical, effectively coming off as a fairy, fluttering around – and interacting with – the actress. They wanted to add visual detail in post-production, but to have the light from the fairy play off of the actress’ face realisticially and organically. They also wanted to be able to capture the spontaneous reactions and movement by the actress, as she responds to the fairy (and in some scenes several fairies) flying around her. This is how they went about it:

#1. The Tools

Pulsating single-LED lights were to act as the fairies. Removing the outer plastic shell of the lights, leaving only the tiny LED diode and the battery, decreased the footprint enough for the camera to only pick up the light and not the hardware. String was used to hang the lights from a C-stand – and later to be controlled by the producers, moving the lights around the actress and camera. When it comes time to shoot, the string will be replaced by clear fishing line, which won’t show up on camera or will be easily edited out in post. Plastic wrap (the ordinary kitchen variety) was used to experiement with grouping together several LED diodes into a single light source, while also slightly changing the way the light breaks on camera, changing its properties like hue and brightness.

#2. Positioning

Hanging the light from a C-stand allowed them to have a controlled height of the light when moving the LED around, making it easier to frame on camera and to reset between takes.

#3. Interaction With Light

One of the most important reasons for the FX test was to see how the light would bounce off of the actress’ face while moving around. This gave the DP a chance to experiement with exposure and focus in order to achieve the effect needed.

#4. Movement

Testing the movement of the lights proved beneficial, not just because it gave the DP a chance to see how the light would bounce off of the actress’ face, but it also gave the filmmakers a chance to see how the light behaved differently when moved on the C-stand vs by hand.

#5. Several Light Sources

Some scenes call for just one fairy on camera, while some scenes call for several fairies moving around at once. The practical test showed the filmmakers how close to – or how far away from – the camera they could have the lights and still have the lights look like organic, moving creatures.

#6. Lens Whacking

Experimenting with lens whacking as a way of creating dream-like visuals with light leaks and tilt shift focus also gave the filmmakers an idea of how to move the fairy lights around in a realistic, organic way.

#7. Distance

A common theme in the FX test was experimenting with distance. Distance between lights and actress. Distance between actress and camera. Distance between lights and camera. All while keeping in mind that the end result should feel magical, but real and natural.

The take-away from a day of experimentation? Some things work and some things don’t. Some things will require additional planning and experimentation. Regardless, a day or two spent in pre-production will no doubt save the crew precious, stressful hours on set, which may again be the difference between getting the shot they need or not. It’s worth it.

We’re following the production of the feature film, The Storyteller, from idea all the way through to distribution. Learn from the process with real-world examples right here.

The images of his work – part of an on-going project titled Looming – instantly took me to alien places of mystery and wonder. And they made me want to experiment with set design; take things a little further than I normally would have.

He favors materials he can carry easily, like spheres, smoke bombs, LEDs, and lasers. “I think stuff like technical or budget limitations forced you to think about materials,” he says. “You have to innovate with the best of what you have.”

So there you have it. Limitations can be beautiful, if you think outside the box. Already waaaaay ahead of myself, I started googling and found an 18″ clear acrylic sphere for $45, an assortment of smoke bombs for $35 and LED lights ranging from $3 to $30. I can’t wait to start creating.

All images by David Ogle and Andrew Brooks:

h/t Wired

Need an example before we get into the nitty-gritty of scouting for locations?

Take a look at this trailer for Woody Allen’s Manhattan.

Now take a look at the trailer for Martin Scorsese’s Mean Streets.

Both Directors are synonymous with New York, both movies are set in New York, but the stories are very different and their locations reflect this.

There are two kinds of Film Locations:

1. A Stage: A stage is basically a building where you can build your sets. The benefit to this option is that you have complete control over the environment and actual structure of the set. A wall can be moved so that a camera can be placed to get a certain angle.

Have you seen Room yet? This Academy Award nominated film’s main location is not only the title of the movie but is also a built set.

Check out this featurette with the Production Designers talking about they created Room.

2. A Practical Location: Often referred to as just a Film Location, this means that the filmmaker shoots in an actual existing location. The scene is set in a house, you film in a house. Low budget/independent filmmakers often utilize this option because it can actually be less money to shoot in a local location and dress it (meaning make it look the way you want) than to rent a stage. There’s also an added authenticity for the audience; they know that what they’re seeing actually exists.

Here’s the trailer for another Academy Award Nominated film, only this one was shot on location.

To the less trained eye, a Film Location is simply the place that a film (or television show) is filmed, but a specific location can really add depth to a story. However, this doesn’t mean that a location should dictate the story. In the case of The Storyteller, Writer/Director Joe Crump and Writer/Producer Rachel Noll found a balance between using locations to fuel their ideas and letting their ideas inspire their locations.

We didn’t restrict the story too much in our first drafts, we let it flow organically and then went back and tailored locations to fit places we knew we could get once we moved into the early stages of pre-production. We did try to keep conscious of not using too many locations or anything that would be hard to find. We kept the story simple and the locations as well. – Rachel Noll, Producer of The Storyteller

Once the script is written, production is tasked with finding suitable locations. There are many factors, both logistical and creative, that a filmmaker should keep in mind when choosing the locations.

The first step is to decide where you are going to film the project.

Did you know?

Many states offer production benefits for companies to shoot in their state/locations? These benefits can include Tax Credits, Cash Rebates, Sales Tax and Lodging Exemption and/or Fee-Free Locations.

• Tax Credits: When a production company works in a specific state, they will have to pay an income tax back to the state. If a production company meets the minimum spending requirements as determined by that state, then they (the production company), will qualify for a tax credit. This means that a portion of the income tax will be given back to the production company. On big productions, this can end up being rather large amounts.
• Cash Rebates: These are similar to tax credits in that money are given back to the production company. However, a cash rebate is based on the production company’s expenses.
• Sales Tax & Lodging Exemption: A state will try to entice a production company to film there by offering an exemption from both sales and lodging taxes.
• Fee-Free Locations: It’s important for any filmmaker to know that government owned locations are often offered for no cost.

Remember – These benefits vary by state so it’s important to do the research and compare your production needs and constraints with the offers provided by each. Here’s a great website that compares state incentives!

Understand that tax incentives offer options, but should not solely dictate where the filmmaker decides to shoot their film. The Storyteller will be shot in Indiana, a state that does not offer incentives. This may seem like a disadvantage, but shooting in a state that doesn’t regularly have production companies shooting can be very welcoming, especially when compared to places like Los Angeles and New York.

Everyone I have spoken to has been so excited and generous. Everyone wants to be a part of a movie out there because they have not been over saturated. Its still exciting. We have gotten such a tremendous positive response from the locations and the owners of the businesses we approach offering us all kinds of things and saying they are honored we thought of them. It’s been really heart warming. – Rachel Noll, Producer of The Storyteller

Once you’ve picked the state you’ll be shooting in, it’s time to start looking for specific locations. A Location Scout can be very helpful at this point. The production company will employ them to find a number of possible locations and present those decisions to the filmmakers. The benefit of having a location scout is that they know the area you’re shooting in and deal with location managers all the time. It can especially help when the production company isn’t local.

We are currently looking to bring on a local location scout to help us with our final house location, because its really specific in terms of what we need it to accomplish for us – multiple locations as well as crew lodging – and since I am based in LA it would be very helpful to have another pair of boots on the ground in Indy to help us find some options. Our UPM is currently vetting some location scouts for us. – Rachel Noll, Producer of The Storyteller

The Key Criteria when looking for location is to know what you are looking for and be aware of your shooting schedule. The filmmaker has to have a vision for the film to understand if the scouted location will help bring the film to life. In addition, you have to understand how shooting in that location will fit into the entire production schedule. The filmmakers of The Storyteller have been sure to keep this in mind.

Joe has had a pretty clear vision in his mind of local spots in Indianapolis that he wants to use, so we always go there first… We are very aware of our time limitations on a three week shoot, and so the more locations we can find that are within close proximity to each other, or can serve as multiple locations, the better off we are. It’s also important that they look and feel like the world we are trying to create. – Rachel Noll, Producer of The Storyteller

Other criteria to remember when scouting locations:

• Lighting: What does the location look like during the time that you’ll be filming? It’s important for your DP to know their canvas. Understanding how light enters a building will inform how the DP lights the scene and even what kind of equipment is needed.
• Power supplies: Are there enough power outlets for your equipment? If not, are you going to need to rent a generator?
• Outside noise: Sound should NEVER be underestimated. Is the building near any kind of airfield? If so, your days will be filled with “holding for sound” until the plane finishes flying overhead.
• Parking: How large is your crew? Is there enough nearby parking? Is it free or will you have to pay? Will you need a permit to park on the street?

Depending on what locations are available, it is possible that your story will change. This is something The Storyteller has had to deal with first hand.

Small adjustments in the script have been made as we began to understand the logistics of the various spaces. Nothing major though. At least not yet. There was one scene we had written to take place at a pond when we thought we had a certain house location with a pond out back. This location fell through, and so we adapted the scene to be in a park we are already shooting another scene in. Small modifications like that. – Rachel Noll, Producer of The Storyteller

Permits, permits, permits.

Once a location has been selected, it needs to be secured. Obtaining a Film Permit is a key part of the process. Issued by the state government, a film permit authorizes the production company to film in the desired location (state owned or otherwise). The requirements for obtaining a film permit are different for each state and usually include: providing location details, date and time of filming, a description of the scene and if there are any stunts involved. In order to obtain a permit, the production company will also have to pay a fee and provide proof of production insurance.

We are too far out to begin obtaining permits – and actually, Indiana doesn’t require permits in the same way California does unless you are closing down a major street, which we are not. We have tentatively secured the majority of our locations already, but will not be able to formally lock them down until we have a locked shooting schedule, which our AD is working on now and we hope to have finished in the next few weeks. – Rachel Noll, Producer of The Storyteller

Join us next time when we discuss Script Coverage, Screenwriting Contests and The Blacklist: What is it and what’s it good for? Until then, here’s the trailer for an Academy Award Nominated film set in Australia – but filmed on location in Namibia!

Since 2012 Simon Cade has been learning about filmmaking in one of the best ways possible – by teaching others. His DSLRGuide Youtube channel has amassed almost 150.000 subscribers and about 5 million views spread out over a treasure trove of tutorial videos on anything from lighting to storytelling to camera movement to DIY tricks to color grading and so on and so forth. His output frequency (a new video every week) and quality is really quite remarkable. His guide for shooting beautiful, cinematic video with a DLSR camera and low-to-no budget should be the first place you start your research, if you’re looking to do just that.

One of my favorite things about Simon’s videos is how directly relatable they are to my own trials and errors as an amateur filmmaker. Having trouble getting the right look for your film using whatever natural light you have available? Simon has an answer for you. Unsure about how to get started with color grading? Simon will walk you through it. Wondering why your shots feel flat? Simon’s got some suggestions on where to make changes.

All that and he seems like a nice bloke.

Here is but a small selection of his many videos. Be sure to check out his many videos here and to subscribe to his channel. For more in-depth information about the gear he uses and where he gets it, visit his website.

#1 Every Frame A Painting

My personal favorite. Every Frame A Painting is like the class you wish you had in film school. It’s a triumphantly unpredictable  bastard of a film analysis class and the rantings of your favorite, passionate teacher. By analyzing certain scenes, director trademarks, genre-specific filmmaking tools or something else you would have never thought to analyze, host Tony Zhou and his expertly edited videos will leave you not only smarter, but inspired and amazed.

#2 Film Riot

Fast-talking host, independent filmmaker and DIY handy-man Ryan Connolly and his rag-tag team of film aficionados deliver tutorials, DIY builds, real-life examples and How-To’s on just about everything you could ever think of related to filmmaking. The beauty of this channel is not so much the hyper-active presentation (though that’ll certainly keep you focused), as it is the way in which these guys manage to take the mystery out of Hollywood filmmaking, while preserving all the magic. Specifically targeting independent, DIY or super low-budget filmmakers, the channel abounds with videos on how to make your film look and sound like a million $ without breaking the bank.

#3 Filmmaker IQ

With a somewhat more technical and perhaps film school-like approach, Filmmaker IQ is an immensely valuable resource. Think of it as a ‘How Stuff Works’ for filmmakers; some topics are highly technical, borderline scientific, while other topics are pure entertainment. Wanna know how a camera sensor works? No problem. Wanna brush up on the origins of auteur theory? Why not. Wanna learn how to light a film noir? You should. And all of that can be done in the same place. Filmmaker IQ.

#4 Indy Mogul

With roughly 1250 videos on their channel, Indy Mogul is almost like a Discovery Channel of the Internet. Before Discovery Channel became all about reality TV, of course. Indy Mogul is an impressive library of engaging video tutorials, hands-on reviews of cameras and equipment, Q&A’s with filmmakers and a whole lot of tips and tricks to up your indy filmmaking game. Now, Indy Mogul hasn’t been active in years, so don’t expect new videos about the latest in gear or software. But do expect to get lost in a massive library of goodies that are equally helpful today as they were 6 years ago.

#5 Now You See It

Similar in style to Every Frame A Painting, Now You See It is sort of a hybrid between film analysis and geeky musings on what makes movies great. Though not always entirely on point, mostly the videos from Now You See It will give you lots of a ha! moments and insightful takes on movies, scenes or techniques you already thought you knew everything about.