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You can purchase Pocket Film School's flagship course with one payment of $497.99, or 4x low payments of $150 per month.

  • 1
    Welcome to Pocket Film School!
    • Congratulations!
    • First 100 Students
    • So Much To Learn!
    • Tons of Content! Easy to Navigate.
    • Are You Ready?
  • 2
    1 - Writing
    • WRITING - SEGMENT 1
    • WRI1.1 - INTRODUCTION TO SCREENWRITING
    • WRI.1.2 - INSPIRATION
    • WRI.1.3 - STARTING OUT
    • WRI.1.4 - DEVELOPING CHARACTERS
    • WRI.1.5 - CREATING TENSION
    • WRI.1.6 - PROGRESS AND TROUBLESHOOTING
  • 3
    2 - Script Development
    • DEV.1.00 - WELCOME TO DEVELOPMENT
    • DEV.1.01 - FIRST DRAFT DONE, ARE WE READY TO SHOOT?
    • DEV.1.02 - HOW DOES GENRE AFFECT DEVELOPMENT
    • DEV.1.03 - THE DEVELOPMENT PROCESS
    • DEV.1.04 - DON'T TAKE NOTES PERSONALLY
    • DEV.1.05 - WHERE SCRIPTS FAIL
    • DEV.1.06 - WRITING LOVABLE CHARACTERS
    • DEV.1.07 - TONE AND PACING
    • DEV.1.08 - GIVE THE ANSWER BEFORE THE QUESTION
    • DEV.1.09 - DEFENDING IDEAS, STAYING ALLIES
    • DEV.1.10 - WHAT IS SCRIPT DEVELOPMENT
    • DEV.1.11 - UNDERSTANDING A SCRIPT'S MARKETABILITY
    • DEV.1.12 - TALKING TO A WRITER
    • DEV.1.13 - PRODUCER'S FIRST PASS
    • DEV.1.14 - WRITING DOESN'T HAVE TO GET PERSONAL
    • DEV.1.15 - DON'T BE AFRAID TO KILL YOUR DARLINGS
  • 4
    3 - Budgeting and Scheduling
    • BUD.1.00 - BUDGET AND SCHEDULING INTRO
    • BUD.1.01 - MAKING A PLAN & KNOWING THE BASICS
    • BUD.1.02 - LET'S BREAK DOWN A SCRIPT
    • BUD.1.03 - BRINGING YOUR BREAKDOWN INTO SOFTWARE
    • BUD.1.04 - WHAT IS ON A ONE LINE
    • BUD.1.05 - SCHEDULING YOUR BREAKDOWN
    • BUD.1.06 - NOW ADD THE NUMBERS
    • GLOSSARY - BUDGETING AND SCHEDULING
  • 5
    4 - Packaging and Financing
    • P&F.1.01 - HOW TO GET MONEY
    • P&F.1.02 - PACKAGING YOUR FILM
    • P&F.1.03 - PITCH DECKS
    • P&F.1.04 - HOW TO FUND A FILM
    • P&F.1.05 - THROW A GOOD PARTY
    • P&F.1.06 - UNDERSTAND WHERE THE FILM IS GOING
    • PACKAGING AND FINANCING DOWNLOADS
  • 6
    5 - Pre-Production
    • PRE.1.01 - ASSEMBLING THE AVENGERS
    • PRE.1.02 - THE CHECKLIST
    • PRE.1.03 - CREWING AND CASTING
    • PRE.1.04 - LOCATION SCOUTING, BOOKING CAST & MAKING THE SCHEDULE WORK
    • PRE.1.05 - RENTING GEAR
    • PRE.1.06 - TECH SCOUT
    • PRE.1.07 - TECH SCOUT: QUICK LOOK OUT TIPS
    • PRE.1.08 - SO MUCH HAPPENING
    • PRE.1.09 - TIME TO LOCK THINGS IN
    • PRE.1.10 - INSURANCE
    • PRE.1.11 - PERMITS
    • PRE.1.12 - PRODUCTION VEHICLES
    • PRE.1.13 - THE DAY BEFORE PRODUCTION
    • PRE.1.14 - STAY ORGANIZED
    • PRE.1.15 - EXTRA BITS
    • GLOSSARY - PRE-PRODUCTION
  • 7
    6 - Production
    • PRO.1.00 - INTRO SKIT
    • PRO.1.01 - PT. 1 CONTROLLING THE CHAOS
    • PRO.1.02 - WELCOME TO FREE FALL
    • PRO.1.03 - THE FIRST 15 MINUTES
    • PRO.1.04 - SET BIN & THE MOBILE OFFICE
    • PRO.1.05 - WHAT ARE SIDES?
    • PRO.1.06 - LOCATION CARE
    • PRO.1.07 - COLLECT SIGNATURES AND STAY ORGANIZED
    • PRO.1.08 - TAKING CARE OF YOUR CREW
    • PRO.1.09 - SAFETY MEETING
    • PRO.1.10 - THE IMPORTANCE OF WALKIES
    • PRO.1.11 - BE ENVIRONMENTALLY FRIENDLY
    • PRO.1.12 - KEEPING TIME & WRAPPING OUT
    • PRO.1.13 - SEE THE MATRIX
    • PRO.2.00 - PT. 2 CALLING THE ROLL
    • PRO.2.01 - RUNNING THE SHOOT DAY
    • PRO.2.02 - BLOCK, LIGHT, SHOOT
    • GLOSSARY & OVERHEARD ON SET - PRODUCTION
  • 8
    7 - Directing
    • MEET YOUR TEACHER - ZACH
    • WELCOME TO - DIRECTING
    • DIR1.02 - WHO IS THE DIRECTOR?
    • DIR1.03 - WHAT DOES THE DIRECTOR DO?
    • DIR1.04 - WHAT'S YOUR SKILL?
    • DIR1.05 - WHAT'S YOUR STYLE?
    • DIR1.06 - THE JOB
    • DIR1.07 - COMING UP WITH IDEAS
    • DIR.08 - FINDING THE RIGHT PROJECT
    • DIR.09 - CREATIVE COMMUNICATION
    • DIR.10 - THE COLLABORATION PROCESS
    • DIR.11 - TRUST
    • DIR.12 - PRODUCTION
    • DIR. 13 - DON'T GET LOST IN STYLE
    • DIR.14 - KEEPING THE GOOD VIBES
    • DIR.15 - SPEAKING THE LANGUAGE
    • DIR. 16 - POST PRODUCTION
    • DIR. 17 - GITTEN-ER-DONE!
    • DIR. 18 - THANKS FOR WATCHING!
    • TIPS - ACTOR HACKS
    • TIPS - BEING REALISTIC
  • 9
    8 - Cinematography
    • MEET YOUR TEACHER - KARL
    • CIN.1.01 - Pt. 1 - TECHNIQUES
    • CIN.1.02 - SAME WAVELENGTHS
    • CIN.1.03 - 4 SIMPLE STEPS TO GROW AS A CINEMATOGRAPHER
    • CIN.1.04 - WHERE DO YOU START?
    • CIN.1.05 - WHAT DOES A DP ACTUALLY DO?
    • CIN.1.07 - THE TRINITY OF CINEMATOGRAPHY
    • CIN.1.08 - SECOND NOTES PASS ON THE SCRIPT
    • CIN.1.09 - WORKING WITH THE DIRECTOR
    • CIN.1.10 - WORKING WITH THE PRODUCTION DESIGNER
    • CIN.1.11 - WORKING WITH THE PRODUCER
    • CIN.1.12 - YOUR IDEAL RATE
    • CIN.1.13 - LOCATION SCOUTING
    • CIN.1.14 - HIRING YOUR CREW
    • CIN.1.15 - MOVING INTO PRODUCTION
    • CIN.1.16 - RACING THE CLOCK
    • CIN.1.17 - BE CALM, COMMUNICATE
    • CIN.1.18 - HOW TO NAVIGATE BLOCKING
    • CIN.1.19 - FIND THE VISION
    • CIN.1.20 - SURVIVAL
    • CIN.1.21 - REFLECT
    • CIN.1.22 - WORKING WITH A COLOURIST
    • CIN.1.23 - THE EGO TRAP
    • CIN.1.24 - WRAP UP
    • CIN.2.00 - PT. 2 PRINCIPLES
    • CIN.2.01 - FRAME RATE
    • CIN.2.02 - EXPOSURE
    • CIN.2.03 - SHUTTER SPEED
    • CIN.2.04 - ISO / ASA / EI
    • CIN.2.05 - APERTURE
    • CIN.2.06 - TOOLS OF EXPOSURE
    • CIN.2.07 - WHITE BALANCE
    • CIN.2.08 - FRAMING
    • CIN.2.09 - FOCAL LENGTHS
    • CIN.2.10 - SIZES OF SHOTS
    • CIN.2.11 - RULES OF FRAMING
    • CIN.2.12 - TYPES OF MOVEMENT
    • CIN.2.13 - WHY IS THE CAMERA MOVING?
    • CIN.2.14 - WHO IS THE CAMERA?
    • CIN.2.16 - SENSOR SIZE
    • CIN.2.17 - LOG V. RAW
    • CIN.3.01 - PT.3 GEAR
    • CIN.3.03 - LENSES
    • CIN.3.04 - CAMERA SUPPORT
    • CIN.3.06 - CRANES
    • CIN.3.07 - GIMBALS
    • CIN.3.08 - STEADICAM
    • CIN.3.09 - DRONES
    • CIN.3.11 - STANDS
    • CIN.3.15 - FILM VS. DIGITAL
    • CIN.3.16 - HOW TO MAKE GEAR LISTS
    • WORLDWIDE CINEMAGRAPHIC SOCIETIES
  • 10
    9 - Production Design
    • PD.1.01 - PRODUCTION DESIGN WITH VINCE
    • PD.1.02 - MOTIVATION
    • PD.1.03 - COMMUNICATING
    • PD.1.04 - BUDGET
    • PD.1.05 -LIMITED BUDGET
    • PD.1.06 - SETS V. PRACTICAL
    • PD.1.07 - STARTING OUT
    • PD.1.08 - APPLYING YOUR PERSONAL TOUCH
    • PD.1.09 - CREATIVE PROCESS
    • PD.1.10 - EXCEDING LIMITATIONS
    • PD.1.11 - THINGS TO AVOID
    • PD.1.12 - SURROUND YOURSELF WITH THE RIGHT PEOPLE
    • PD.1.13 - GETTING OPINIONS
    • PD.1.14 - COLLABORATION
    • PD.1.15 - DEALING WITH BUDGET
    • PD.1.16 - GETTING WORK
    • PD.1.17 -WRAPPING UP
    • PD.2.00 - PRODUCTION DESIGN W/ MELANIE GARROS
    • PD.2.01 - ON LOCATION DESIGN
    • PD.2.02 - LOCATION SCOUTING
    • PD.2.03 - THE CREATIVE PROCESS
    • PD.2.04 - THE CREATIVE PROCESS PT.2
    • PD.2.05 - SOURCING ITEMS
    • PD.2.06 - BUDGETING
    • PD.2.07 - ENTERING PRODUCTION
    • PD.2.08 - WRAPPING OUT
    • PD.2.09 - FINAL WORDS
  • 11
    10 - Wrapout
    • WRP.1.01 - WE'RE DONE. RIGHT?
    • WRP.1.02 - RETURNS
    • WRP.1.03 - WHO GETS THE MOVIE?
    • WRP.1.04 - POST PRODUCTION
    • WRP.1.05 - RECEIPTS AND EXPENSE REPORTS
    • WRP.1.06 - CREW INVOICES
    • WRP.1.07 - OTHER PRODUCTION INVOICES
    • WRP.1.08 - PAYMENTS
    • WRP.1.09 - THE WRAP BINDER
    • WRP.1.10 - BUILDING THE EXPENSE REPORT
    • WRP.1.11 - DIGITAL WRAP BINDER
    • GLOSSARY - WRAP OUT
  • 12
    11 - Editing
    • EDITING INTRO
    • EDT.1.01 - ORGANIZING YOUR HARD DRIVE
    • EDT.1.02 - CHECKSUMS
    • EDT.1.03 - MAKING A PROJECT FILE
    • EDT.1.04 - IMPORTING
    • EDT.1.05 - CREATING A SEQUENCE
    • EDT.1.06 - WORKING IN YOUR TIMELINE
    • EDT.1.07 - GET TO KNOW THE TOOLS
    • EDT.1.08 - TRANSPARENT LAYER AND TIMECODING
    • EDT.1.09 - WRAPPING UP
    • EDT.2.00 - EDITING WITH ZACH
    • EDT.2.01 - ASSEMBLING A SCENE
    • EDT.2.02 - BEING AN EMOTIONAL STORYTELLER
  • 13
    12 - Sound Design
    • AUD.1.00 - AUDIO FOR STORYTELLING
    • AUD.1.01 - WHAT YOU DON'T SEE
    • AUD.1.02 - GETTING THE GEAR
    • AUD.2.01 - RECORDING AUDIO
    • AUD.2.03 - FIX IT ON SET
    • AUD.2.04 - ON SET ESSENTIALS
    • AUD.3.01 - EDITING AUDIO
    • AUD.3.02 - CLEANING IT UP
    • AUD.3.03 - MAKING YOUR VISUALS COME TO LIFE
    • AUD.3.04 - MUSIC
    • AUD.3.05 - THE FINAL MIX
    • AUD.3.06 - FINAL WORDS
  • 14
    13 - Composition/Music
    • COMP.1.01 - COMPOSING - MUSIC AND FILM
    • COMP.1.02 - TALK ABOUT THE FILM, NOT THE MUSIC
    • COMP.1.03 - WHEN DO COMPOSERS GET INVOLVED?
    • COMP.1.04 - THE PROCESS OF COMPOSING
    • COMP.1.07 - DETERMINING A CHARACTER'S THEME
    • COMP.1.08 - EXECUTING A CHARACTER'S THEME
    • COMP.1.09 - LEAVE SPACE FOR SILENCE
    • COMP.1.10 - TEMPO AND TYPE OF MUSIC
    • COMP.1.11 - TENANTS - EXAMPLE WITHOUT MUSIC
    • COMP.1.12 - TALKING TO A COMPOSER
    • COMP.1.13 - MANAGING THE WORKLOAD
    • COMP.1.14 - MANAGE THE SPOTTING SESSION
    • COMP.1.15 - THE PROCESS OF SPOTTING
    • COMP.1.16 - A COMPOSER'S NEXT STEPS
    • COMP.1.17 - FINAL THOUGHTS
  • 15
    14 - VFX
    • VFX.1.01 - INTRODUCTION
    • VFX.1.02 - A DIRECTOR'S GUIDE TO VFX
    • VFX.1.03 - WHAT IS VFX
    • VFX.1.04 - WHY USE VFX
    • VFX.1.05 - WHY NOT USE VFX
    • VFX.1.06 - SPECIAL VS. PRACTICAL
    • VFX.1.07 - CLEANING UP WITH VFX
    • VFX.1.08 - VFX ON SET
    • VFX.1.09 - WHAT IS COMPOSITING
    • VFX.1.10 - GREEN SCREEN
    • VFX.1.11 - 2D CAMERA TRACKING
    • VFX.1.12 - 3D CAMERA TRACKING
    • VFX.1.14 - CONCLUSION
    • GLOSSARY - VFX
  • 16
    15 - Colouring
    • COL.1.00 - FINISH THE PICTURE
    • COL.1.01 - THE PRINCIPLES OF COLOUR GRADING
    • COL.1.02 - COLOUR CORRECTING VS. GRADING
    • COL.1.03 - LOG AND RAW
    • COL.1.04 - COLOUR GRADING TOOLS
    • COL.1.05 - LUTS
    • COL.1.06 - MONITOR CALIBRATION
    • COL.1.07 - VIGNETTES
    • COL.1.08 - THE IMPORTANCE OF A GOOD GRADE
    • EXTENDED LEARNING - COLOUR GRADING
  • 17
    16 - Delivery
    • DEL.1.01 - DELIVERING A FILM
    • DEL.1.02 - EXPORTING BIGGER FILES
  • 18
    17 - Festivals/Distribution
    • DIS.1.01 - FESTIVALS AND DISTRIBUTION
    • DIS.1.02 - FESTIVALS
    • DIS.1.03 - SELLING TO A DISTRIBUTOR
    • DIS.1.04 - SELF DISTRIBUTING
  • 19
    18 - Collaboration
    • COL.1.00 - BE PRESENT
    • COL.1.01 - COLLABORATION
    • COL.1.02 - HOW TO BE A LEADER
  • 20
    19 - Next Steps
    • NEXT.1.03 - HOW TO STAY CONNECTED
    • NEXT.1.04 - HOW TO GET STARTED

Learn Filmmaking from Start to Finish

Education - Deconstructed. The mission of Pocket Film School is to take a complex topic like filmmaking and break it down into its basic parts. Eighteen courses have been expertly curated in easily ingestible lengths taking students from the moment you think of a film to the day you see it on the screen.

  • Pocket Film School is always on, accessible no matter where you are in the world.

  • All courses are closed-captioning enabled to ensure viewability for all audiences.

  • Have any questions? Email us at pocketfilmschool@gmail.com

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