Video and lighting equipment:

We used a SonyPD150 miniDV camera. We didn't use any filters. The DOP used a mixture of lights with various gels. On the interior shots he often used banks of Kinos. We had some difficulty in assessing whether our monitor or our camera was providing the true representation of how dark or light the resulting video image had become. If I were doing the same in the future I'd make sure that we had a hi-definition 9-inch monitor that had been calibrated with the camera.

We hired the majority of our equipment from a company called VFG. If you ring up companies and describe your situation with honesty and courtesy, people are usually happy to help. They know that filmmakers need help to break the catch-22 of needing to have made a film in order to qualify for making a film. If you explain to a rental company that you are a new director with a promising project, and that you will bring them any properly funded business that you might attract as a result of having it on your reel, then they will be most likely to help.

I would recommend a scatter bomb technique in looking for deals. Ring every supplier in the whole of your city until you find the best price. Make sure you sell the project to the right person at each company. (For film contacts in London see www.theknowledgeonline.com ). You can register for free.

We used a PD150 because it was all we could afford. We needed insurance (c/o Panico) in order to get the equipment from VFG, and with an expensive camera the insurance went up. Also, stock is a lot cheaper than on superior formats. The PD150 is a better camera than the VX2000 mainly because you have the XLR inputs and more accurate control of sound levels. The difference in the quality of the video is insubstantial. You can use a VX2000 with a beech-box for the sound, so I've since bought my own VX2000. You get 3 yrs warranty as opposed to one, and it's a lot cheaper.

If you want to buy a 3-chip miniDV camera, and you can afford a PD150 instead of a VX2000, then get the PD150. There are quite a few advantages. (eg setting timecode, the XLR inputs etc). [If you want to buy a VX2000 try http://www.rgbdirect.co.uk . Otherwise, you can find the best buy using http://uk.pricerunner.com ]. But I'd recommend renting equipment. Only buy a camera if you consider it a worthwhile long-term investment.

It's definitely worth getting a decent tripod for a shoot. Wobbly shots that are supposed to be static, or unsmooth panning shots look bad. Hire a decent Manfrotto or something similar. We also tried a junior steadicam for some shots (hired from Optex). It can take a while for an operator to get used to using it, so I'd recommend that the cameraman has had enough practice before shooting. (I'm sure Optex would let someone come in for an afternoon beforehand to have a play.) An alternative is the Camsling ( http://www.camsling.co.uk ). There's also a company that specialises in mini "cranes" and dollies for video: http://www.b-hague.co.uk .

If you want more advice about any DV equipment or accessories go to: http://www.urbanfox.tv/index.htm They give a very well informed summary.

Re: DVcam on the PD150

DV cam tapes are supposed to be slightly safer than miniDV tapes. Allegedly you're less likely to get drop-out after you've filmed. The PD150 can record on either format, but, so far as I'm aware, the difference in video quality is negligible. It's the size of the chip, the lens, and the lighting that really determine the image quality. (And the content of course!)

Re: Post production

Here I have to give thanks to Bruce my editor. I met Bruce through www.shootingpeople.org . He works at a company with lots of their own equipment including several AVID suites. When I first met him he was an editor's assistant who wanted to get some projects under his belt. This is a good approach - getting a gang of people who are trying to get some experience. The end result is a positive group attitude. Everyone is discovering himself or herself within the context of film. It's more exciting.

To make this sort of group work on a set, you need to be strict with film discipline otherwise it falls apart. If you aren't disciplined yourself, then you need to get someone with experience of the discipline (ie a first assistant director.) 1st A.D.s are just as likely to want to work with a new director as anyone else. There's a chance that the new contact will result in 10 years of paid work for him or her. (So try the knowledge, or shootingpeople). I didn't use a 1st A.D. because I felt that I'd learnt enough about the mechanics of filmmaking having worked as a runner. In actual fact it's always useful to have a 1st. It enables you to relax - to forget about the logistics and concentrate on directing the actors.

It would be best to talk to the sound recordist about this. We hired our sound recording equipment from Richmond Film Services (020 8940 6077). The sound recordist asked for a 416, a couple of tie mics, a boom-pole, plenty of cable, and an SQN mixer. We mixed the sound on AVID getting various sound effects from library CDs, the internet etc. We recorded the voices that run over the end titles with 2 actors jammed into a cupboard in the editing facility. It's the quality of the mic, and the degree to which the room is soundproof that makes a difference to "DIY sound studio" recording.

I haven't bought AVID. We used the one's at the editor's facility. I wouldn't be able to afford to buy an AVID system. Although having said that, you can get a recent edition of AVID for DV that can run on a laptop. Speak to DVC about this (Digital Video Computing: www.dvc.co.uk). I don't have much experience with Premiere so I can't comment on it. I think it's best to get people who are experts in their field. Try to find a sound mixer, an editor, a sound recordist, a boom operator, an editor etc. They' re all trying to get started too.

While I was finishing my degree (in Psychology, not film) I sent a CV and cover letter to about 350 production companies in London. I got about 15 replies, two interviews, and one job. I worked for a year as an in-house runner at a commercials production company, and then for about a year and a half as a freelancer. I probably worked as a runner on about 80 commercials and promos.

You do learn a lot about the way film crews work by working in film crews (unsurprisingly). I made a short film before I had worked as a runner, and the production standards were very low. I basically got a video camera and ran around improvising stuff with an actor. By working on a set I learnt what was needed to operate professionally. Simply getting used to the film making process is useful. You also learn that you need people who are experts in their respective fields, and that you need to prepare your shooting very thoroughly. I had the chance to observe directors' style and technique. Working as a video playback operator puts you right on the director's arm. You can watch the way they react to different takes, and listen to the approach they take when they're trying to redirect a performance. I had absorbed most of this experience by the time that I directed "Racing Post" and tried to work professionally.

But I have learnt a far more valuable lesson since the production of "Racing Post". Despite the lower production standards, I still prefer my first short. I think that I directed it better because I felt more passionate about the content. You must feel absolutely passionate about the film that you're going to direct. If you don't, you won't be able to hide the fact. As a result, I've promised myself that my next short will be the one that I' ve been dying to make for the last 2 yrs. (By the way, if you want to invest in its production, and you want to see the script "The Duke" - recently read at a Rocliffe development workshop co-chaired by the Chief Executive of Variety magazine - email me through my production company, Moon, at www.takeagiantleap.com )

One of the risks of working as a runner is that you can get trapped. You grow dependent on the income, and you don't have the time to concentrate on writing / production etc. I think a year is plenty of time to benefit from running. After that, get on the dole. Or live at you Gran's house. Anything so that you can concentrate on making films, and you don't need so much time to make money. It's easy to convince yourself that it's possible to work your way up a hierarchy toward directing. That's because the route it more tangible and it makes our future seem more controllable. I could have done assistant directing stuff, or climbed into the camera department, or tried going up a production ladder, but at the top you become an AD, a DOP or a producer, and the disciplines are very different to directing. The best way to learn about directing is to make films. It's difficult to make films when you're freelance, and constantly trying to get work.

My experience with shootingpeople has been very good. I've made some great contacts. When using it to find crewmembers make sure you look at a CV and cover note. Then maybe have a chat on the phone, or maybe go out for a drink. That way you can make sure you're on the same wavelength. A potential collaborator should be keen on your project, and somebody you can work with. If they've got limited experience, then they you should be sure that they're sufficiently intelligent to be able to learn on the job. You should also be able to sense that they are the type of person that you can trust to turn up at 7am, in the middle of nowhere, for no money, and work fairly long hours.

On this project, I decided to search for a script because I was suffering from writer's block. Through shootingpeople I found the script, the producer, the crew, and the editor with his facility. It can also be used as a forum to get advice on technical issues.

To see my reel, or discuss a project, you can contact Tanya, Will, or Alice at Maverick Media (020 7291 3450). For more details go to www.maverickmedia.co.uk where you can also view some of my stuff c/o Quicktime. If anyone wants to buy a licence for "Racing Post" e-mail through my production company, at www.takeagiantleap.com. Sky has bought a 6-month licence in the UK from April 2003, but it's available for any broadcaster outside of the UK, and it 's available to other UK broadcasters from October 2003.

The producer sent a load of copies of the film to various broadcasters, the short film bureau etc. About 6 months later a lady from Sky rang me. She said they wanted to buy a licence for the Sky Shorts season, and extend it to a 6-month daytime licence. I really like being given money so I said, "Weeeeell, okay then."

Be the master of your own destiny. Don't wait for things to come to you. Make your own projects happen. If you've got writer's block, advertise for scripts. Borrow a video camera. Learn through practice. Stop talking about what you want to do, just knuckle down and do it. People used to say to me "Film directing isn't a realistic career option. Everyone wants to do it and nobody makes it." The people who make it in this industry don't listen to that type of bullshit. They're stubborn, and resilient. You've got to learn to get up when you've been punched in the face. Win the game of cards even if you're cards are crap. Take criticism as a constructive gift. When you look at you're last film and think, "Oh my god that's really shit", slap yourself in the face and explain, "Yeah, but you haven't seen my next one yet." I've learnt far more from my failures than from my successes. Revel in failure. Failure is great.