Problem: Article: You can find colorful butcher paper online, in teacher supply stores, and in certain university/college art stores. Regular arts and crafts stores may not sell butcher paper.  You can also use fabric instead, but you may want to hem the edges so that they do not fray. White butcher paper may seem plain, but it will give you a nice canvas to work on. Draw lightly with the pencil so that you can erase the marks easier later on. This will help ensure that your words are straight and not crooked. You don't have to get the font right at this point—just try to get the rough shape and size. This will help you position the stencils later on. Again, remember to draw lightly so that the pencil does not show through the paint. Some stencils will have a sticky back and will stay put while you paint. If your stencil moves around too much, tape the edges down using painter's tape. You can use a foam brush or a stencil brush to apply the paint. Apply the paint using a light, tapping motion. Try not to apply too much paint at once; you can always apply another coat or two. If you apply too much paint at once, the paint may leak under the stencil and create puddles. If you are painting on fabric, use fabric paint instead. You may want to start out by painting every other letter first, then going back and painting the missing letters. This will give the paint time to dry, and you won't have to worry about accidentally touching and smearing wet paint. Depending on what type of paint you used, this can take anywhere between 20 minutes to 2 hours. Hang your banner up by either taping or tacking it to the wall.
Summary: Buy enough butcher paper to fit your message. Draw some guidelines on the paper using a pencil and ruler. Lightly sketch out your message using a pencil. Place your stencil where you want it. Paint over the stencil using acrylic paint. Move the stencil over to the next letter. Let the paint dry before you hang the banner.

Problem: Article: Tipping your torch in this fashion can cause the torch to flare. This can be especially dangerous on windy days. The wind could cause the flame to jump to the surrounding area and start a fire. If you use your torch in cold weather and if your torch is not pressure regulated, you may notice that the flame is smaller than usual. Cold temperatures reduce the amount of pressure in the tank, resulting in a smaller flame.  Keep your tank in a warm, indoor area and use it quickly and efficiently when out in the cold to maintain a suitable flame.  Using a pressure regulated torch will also prevent a small flame due to temperature. If you hear a hissing noise of gas escaping your torch even while the valve is off, it likely has a leak. You may also notice that your torch is losing fuel even when not in use, which is another sign of a leak. In a well ventilated, spark free area where there are no open flames, open the valve of your torch but do not ignite it. Use dish soap and water on all connections. If you see bubbles form, you have a leak. Many torches are designed to absorb drop impact so as to prevent damage to the pressurized fuel cylinder. This can sometimes result in your torch breaking off at the airholes when dropped, or another component being damaged.  A damaged torch can be severely dangerous; send your torch into the manufacturer for repairs.  The customer service number for your torch can often be found in the user manual or on the manufacturer's website. Customer service should be able to inform you of the proper process for repair.
Summary: Avoid tipping the torch more than 60° from upright. Recognize the effect of temperature on your torch flame. Check your torch for leaks. Send in your torch for repairs.

Problem: Article: A fake fight scene requires real coordination. To make a convincing fight scene you need actors that can fight convincingly. Whether you're filming a one-on-one duel or a big brawl, you want actors who can carry themselves with fluidity and coordination.  If your actors aren't comfortable moving a lot, you can still give them smaller parts in the fight. It will make your job much harder, however. Fake fighting is closer to dancing than actual brawling, and requires a similar level of coordination and athleticism. Do you want a blazing fast kung-fu battle or a slow, intense brawl? Will the fight be one-sided or will the combatants be evenly matched? Maybe one character is getting beaten up badly, but comes behind at the very end to win. Whatever your film, figure out the feel and progression of the fight before you start choreographing it.  How does each fighter behave? A noble warrior, for example, will fight very differently from a scoundrel pirate. Do you want gritty, realistic violence or something more fun and cartoonish? How serious is this fight? If you're not making the movie alone, show your cast and crew fight scenes from 3-4 movies you want your scene to look like. This helps everyone get on the same page. This is non-negotiable -- any closer and you risk real injury, any further and the hit will look unconvincing. Say Kim needs to kick at Ron's head. There are two ways to play it. First, Kim can kick in front of Ron's face, arching her foot in front of his nose. Second, she can kick past his head, flying past his ear. A third method is to let Ron dodge the blow, which is much easier to shoot than fake contact because you don't need to "cheat" the impact of the kick. If Kim is throwing that kick Ron needs to realistically get hit by it. As the kick passes his head, Ron should launch himself in the same direction, mimicking the contact. Take it at 50% speed at first so that both actors know exactly what is happening and where they need to go, then slowly ratchet up the speed with each rehearsal. Let each blow land where an actor just was for the best results. If Kim throws a punch, have Ron back up as he reacts to it, helping sell the movement. Say Kim needs to throw Ron to the floor for the scene. Kim wouldn't ever actually throw Ron. Instead, she would just grab Ron, who would then throw himself to the floor. Kim would simply fake the throw by following Ron's lead. This makes the timing much more fluid and far safer, and should be used in a variety of scenarios:  Say Kim grabs Ron's hand and breaks his arm at the elbow. All Kim should do is grab the hand, letting Ron move himself to the floor as she follows him down. If Kim needs to slam Ron's head against the wall, Ron should throw his head within six inches of the wall and fake the bounce back up. She simply follows his head with her hand. Never use a real weapon on set, even if it is supposed to be just seen in the background. Props should always be harmless and completely safe. In professional movies, prop masters must be professionally firearm trained, even with blanks and fake guns, and for a good reason -- even blanks have caused injury when played with or used inappropriately.  You can purchase realistic foam baseball bats, swords, nunchucks, and much more online from movie prop websites. Prop knives should be retractable, meaning they hide when you "stab" someone. Guns, even rubber ones, should be covered with a bright muzzle indicating that they are fake whenever they are not in use. For example, say your scene starts with traded punches, moves to a dodged kick, and ends with Kim throwing Ron to the ground. You should master the punches, the kick, and the throw individually, then slowly piece them together. When choreographing scenes, go slowly, taking it one piece at a time to ensure perfection and safety. Think back to the tone of your fight, and the attitudes of your characters. For example, a noble and experienced warrior will be calm and confident. When not fighting they will be poised and still. A less experienced fighter, however, is generally jittery and nervous. They make big, energetic movements, bounce or shake when not in action, etc. Once your actual action is choreographed, spend some time making the fight look artistic. Make sure you rehearse in costume as well. Actors need to practice in the clothes they will actually have to fight in.
Summary:
Find physical, athletic actors to work with. Decide on the tone and arc of the fight. Keep all punches and kicks 6–8 inches (15.2–20.3 cm) away from the actors. Coordinate the reaction to each hit to time it up with the action. Let the person getting hit dictate any actual movement. Purchase safe, movie-specific props. Practice each action individually before stringing it all together. Add flourishes and details once the main actions are perfected.