Techniques to Prevent Your Work from Being Shelved: How to Avoid Release Delays Due to an Individual Performer’s Circumstances

Various Causes of Shelving

DIY filmmaking, one of the creative pursuits, offers immense satisfaction and fulfillment. However, it comes with significant effort.

If you invest a great amount of effort, having the persistence and determination to complete the work and make it viewable is indispensable. In filmmaking as a hobby, persistence and determination are undoubtedly the most necessary talents.

Unfortunately, many projects end up in what’s commonly referred to as being “shelved.” This can happen in two main ways:

1. The work remains incomplete and thus unreleaseable.
2. The work is completed but cannot be released.

The most common reason for shelving due to incompletion is extended production time, often caused by insufficient preparation. From my own experiences, I’ve come to realize the necessity of completing filming in a short period.

Some might argue, “It’s a hobby, not a job, so why rush?” Indeed, leisurely filming while savoring the experience may seem appealing at first glance. However, dedicating extended time to a single project is almost impossible without immense perseverance. Even the creator, who should be the driving force behind the project, may lose interest as time drags on.

This is true even for those with high creative motivation. New ideas or techniques constantly emerge, distracting focus from the current project. If progress halts due to scheduling conflicts and a new project begins simultaneously, it can lead to a chaotic situation. Everything becomes “partially done,” and the list of shelved works doubles in size. This is a reflection of my own experiences and a point I continually seek to improve.

Completed Works That Cannot Be Released

Aside from the issue of incompletion, there is another frustrating type of shelving—the scenario where the work is completed but cannot be released.

The primary cause of this is changes in the circumstances of the performers. Unlike professional productions where actors are paid and formal contracts are signed, hobby filmmaking often involves informal agreements with friends or amateur actors.

While hobby filmmaking with close friends usually poses no problems, challenges arise as one gains experience and builds networks. For instance, freelance actors may agree to participate without compensation to gain practical experience. Their involvement can noticeably elevate the quality of the work.

However, this scenario has a hidden pitfall. Freelance actors, as the term suggests, are independent and can choose their projects. However, if filming extends or post-production takes too long, they may join a talent agency during that period.

Talent agency regulations typically prohibit the unauthorized use of affiliated talent’s work, meaning you can’t argue that “they were freelancing during filming.” Even if the work was completed prior to their agency affiliation, problems could still arise due to the lack of formal agreements.

Moreover, actors may change their minds and decide they do not want to publicly associate with the project. This can occur if the work is sold for profit, leading to potential objections from participants.

Risk Management Through Visual Effects

To address these challenges, I have been focusing on “green screen filmmaking.” This technique involves separately filming all actors on a green screen and compositing them into the background.

While some might consider this approach unconventional or even unartistic, the reality is that a creative work must be completed to have value—and released to retain its full worth.

If unforeseen circumstances prevent release due to changes in performers’ situations, replacing their green-screen footage with a substitute actor provides a viable solution. While this might not align with traditional artistic practices, I believe it’s a better alternative to shelving a completed project.

Is It Wise to Waste the Whole Work for a Single Element?

Actors undoubtedly contribute significantly to a work, but they remain just one element within it. Sacrificing an entire production for one element is a personal choice; however, I don’t believe it’s the best option.

Filmmaking involves more industrial characteristics than other forms of creation like painting or pottery. From this industrial perspective, producing alternate versions is a feasible and even enjoyable solution.

Creative pursuits, like other activities, often require compromises between idealism and reality. Developing alternate versions may sometimes be necessary to keep a project alive. I hope this proposal serves as useful guidance.