by Natasha Rivera
Writer | Director | Script Consultant | Producer | Indie Filmmaker Advocate
I’ve been in the trenches—self-funding shorts, squeezing shoots into impossible schedules, and learning the hard way how to bring a vision to life with limited resources.
I don’t come from money, connections, or film school. Everything I know, I learned on the job or from watching the best in the business.
After 15 years as an Assistant Director on shows like The Marvelous Mrs. Maisel, Fallout, and Godfather of Harlem, the urge to tell my own stories became too loud to ignore. So I scaled back, shifted my lifestyle, and bet on myself. No funding. No festival love. Just grit, guts, and a need to create.
It wasn’t easy—but it was worth it.
If you’re here, you’re probably one of the brave ones too—ready to take your story from script to screen.
Kudos. This path isn’t for the faint of heart.
This isn’t a theory guide or a list of generic tips. It’s a dose of real talk. Here are 5 things I wish I’d known before making my first short—so you don’t have to learn them the hard way.
1. “Fix It in Prep” is Your New Motto
We’ve all heard “we’ll fix it in post,” but let me be blunt: that’s how great films become mediocre.
The single most valuable lesson I’ve learned is this: almost every problem on set—time, performance, visuals, even money—can be solved in prep if you plan intentionally and thoroughly. This is where it pays to be Chicken Little; think of all the ways “the sky could fall” and come up with plans to course correct. A solid plan before calling “Action” saves you loads of time, money and mental space on the day.
Prep saves time. Prep saves money. Prep saves your vision. Prep is an art form in and of itself.
Lock your shot list and storyboards early.
Memorize your script.
Scout your locations multiple times. Take videos & lots of photos.
Run rehearsals and tech scouts
Build your schedule with breathing room. Live in reality. 10 pages in a day is hard for most A-list sets so don’t set yourself up for failure.
Those specialty shots? Only if they’re ABSOLUTELY CRUCIAL to telling the story. Otherwise, you’re literally wasting time not getting what you need.
TLDR: Don’t wait till its too late to fix your problem areas. On the day, (as we say on set) your ability to pivot will be limited and it’ll show on camera.
2. You Need a Strong First AD or Production Manager (Yes, even for Shorts)
Your film is a ship—and if you’re the director, you can’t steer it alone. Hopefully you’re watching monitor for performance and not worried about lunch being RTS or the next wave of actors being ready.
Whether you're working with five people or fifty, having a strong First Assistant Director (1st AD) or a solid Production Manager is non-negotiable if you want to stay on time, on track, and (relatively) stress-free. Yes your bossy cousin could probably help in a pinch but a finding a pro will save you everything! Truly.
A good 1st AD will keep you sane, the crew focused, and the day moving. They may be a little prickly but hey, someones gotta be!
On indie sets, this person can be your right hand—handling logistics, tracking the schedule, and flagging problems before they derail your day. Listen to them. They’re not just bearers of bad news. They know their stuff! They’re trying to help you.
Pro Tip: If you can’t afford a full-time 1st AD, consider hiring someone to consult on your schedule and production plan before the shoot. It’s worth every penny.
(Call me, I’ll help you. I hate seeing great scripts suffer under poor planning)
3. Your First Draft Budget is a Lie
And that’s okay. But you need to know it’s a lie.
When you make your first budget, double your contingency line. Remember to pay your PAs. Crafty isn’t free and coffee is the set’s battery.
Real Talk, there will always be something you didn’t account for—insurance, overtime, craft services inflation, broken gear, lost locations, or sudden weather shifts.
Don’t budget based on hope or favors from friends. Budget in reality.
Always ask:
What’s the backup if X falls through?
Can this location handle our load-in?
Do we have a second option if our DP bails?
If everyone is working for free, am I getting the best product?
Budgeting for real life—not the fantasy—is one of the most creative acts a filmmaker can do.
Pro Tip: Review our Short Film Checklist to make sure you’re not forgetting or ignoring an important piece of the puzzle.
4. The Right Crew > The Best Gear
You don’t need the fanciest camera. More has been done with less! Tangerine, anyone?
What you need are collaborators who believe in the story. And a compelling story to start!
It’s tempting to spend your entire budget on the “perfect lens” or some cinema camera you saw all the Sundance darlings using last year.
But in my experience, a passionate, collaborative crew with mid-range gear will get you further than a toxic “pro” with an Alexa.
Energy on set matters. Trust matters. Mutual respect matters. A team making the same film and not their own version of it, matters! Sleep, Understanding and letting people have some creative input, MATTER!
Choose your team like you’d cast your leads—look for alignment, flexibility, and the ability to troubleshoot with grace under pressure.
If you get bad vibes in the meeting, they’ll be worse on set. Listen to your gut. It will absolutely affect picture.
Pro Tip: Search first within your network. There are folks who may want to shift gears/positions and need a chance. Those people will work harder and bring a fresh new energy to set with them.
Energy is contagious~ Spread the good kind!
5. Festival Success ≠ Project Success
You may not get into Sundance. Actually, without a buzzy name attache, you likely won’t get into any of the “top tier, prestige” festivals. That doesn’t mean your short wasn’t worth making.
I used to tie my worth to festival acceptances and fall out of love with a project if it didn’t accumulate accolades. I spent tens of thousands on festivals to be ghosted or misguided. Take it from me, please!
Your film’s value isn’t based on laurels. It’s based on what you learned, how you grew, who you collaborated with, and what it unlocks for you next.
Also please remember, festivals are first and foremost: a business. Very few have a “filmmakers first” mentality. They want you to market for them, drive ticket sales and not only do you not receive a cut, most don’t offer any ongoing support.
Maybe that’s hot take but its true! Check analytics, some don’t even watch the dang thing!
Pro Tip: Don’t follow trends. Don’t make films that are “buzzy” or “viral” for the sake of being in a cool kids club. Make the thing you wish existed. Let it change you. Then do it again.
Use your short as a calling card, a proof of concept, a personal breakthrough. Don’t let gatekeepers define your success.
Final Note:
If you're about to direct your first short—breathe. Prep like it’s a feature. Build your dream team. Be creative, boundless and free. You’re making a movie! How lucky are you?! And remember, you don’t have to figure it all out alone. Filmmaking is a collaborative process for a reason!
Need help? I offer script consults, coaching, and downloadable templates to help you stay organized and empowered from day one.
Let’s work together → www.picturestorystudios.com
Follow along on IG @picturestorystudios for filmmaker tips and resources.