The synopsis should be seen as your first chance to say what story you want to tell. Unless you are making an experimental art film, you will need to tell a story. I think it is a pity that experimental films so rarely have a strong a narrative, as I find the combination of story and innovation the most stimulating kind of film. But that is just the way it is, with the odd exception. I try to feature some of those odd exceptions on my website.

You should address, What is my story? How am I going to tell it? Which story is the most important and which are subplots? Your reseach will tell you who is your strongest character, they will be at the centre of your story.

In your edit, you will find you have to think again about what your story is. The actual process of shooting will change things.

Tips for shooting for the edit concern types of shots and shooting to allow the creation of sequences. I have given advice about shooting for the edit to experienced BBC directors as well as new comers, so there is no shame in not knowing the following. A moving shot should have a static frame at the top and another static frame at the end. This gives you 3 shots to choose from when you are editng rather than one, and takes only seconds longer than the single. Make moves gracefully from shot to shot. Don’t gives me countless shots of the floor and ceiling as the camera spins around wildly from static to static. I can use these graceful moves as extra shots. Also, film loves relationships and a move that connects two things can be worth a hundred static singles. Shoot in sequences, always think about how it will cut. Ask yourself, What do we need to know here? I don’t need single shots from you that have no apparent relationship, I need multiple shots that reveal the scene a variety of frame sizes and moves. Think, What is this scene about? How can I most effectively show that with film? If it can be avoided, do not shoot the minimum. This will give you absolutely no options in the edit. I cannot vary the pace, I cannot vary the mood and it is very hard to create a style for the film.

There is a misleading word used in filmmaking, most often in television. The word is ‘cutaways’. 'Cutaways' as you know, mean other material than the main content of the film. To me it is a journalistic word, which denigrates the filmmaking process, encouraging directors to be formulaic. You must shoot other material that is not the main story material. It must be relevant to your story in some way. It could be whole visual sequences that add to your story, directly or indirectly. But you must shoot this material with flare, with enthusiasm, with your themes and characters in mind. Unless you are shooting fast turn around news, where the term 'cutaway' is appropriate, you need to try harder than that! Film is visual and good films tell stories visually as well as through dialogue or narration. Your ‘cutaways’ are a really important part of that.

Finally, learn enough about sound to know good sound when you hear it. Then always make sure it is up to that level before you start shooting. This is about microphone placement, How close do you need the mic to be to the subject? If you have bad sound you cannot use a shot when it requires audio. If you have a bad shot with great sound, you can use the shot if you really need it, that’s just a human thing about how we perceive picture and sound. Practice recording sound with a few mates in your living room, or in the park. Move around with your microphone and put it nearer and further away from them when they speak. Obviously, you are wearing headphone.