Office of a Film Essayist: Filmmaker’s Guide to the 20 Most Asked Questions
Personal insights, techniques, and answers from an independent filmmaker
By Matan Tal
Before I answer the 20 questions, I want to make something clear: when people imagine “the office of a film essayist,” they usually picture some aesthetic Pinterest temple of creativity. In my own filmmaking practice, it’s not that. It’s a functional FilmBüro — a space built to carry real projects across the finish line.

My office is a mix of writing studio, editing bay, storage unit, and a psychological weapon against distraction. It’s where I close the door and commit. It’s where I stop negotiating with myself. It’s where the work becomes physical: hard drives, cameras, notes, cables, screens, books, sketches, and a microphone ready for narration.
And the philosophy behind it is simple: the office is not there to impress anyone — it’s there to support momentum. I’ve edited entire films on nothing but a laptop when I was broke. I’ve recorded narration on the same Zoom recorder across multiple films. I’ve written some of my best material on cheap paper with a cheap pen. The point isn’t gear. The point is: can you show up, focus, and finish? 
1. What does the office of a film essayist look like?
If you walked into my office, you’d understand immediately that it belongs to a filmmaker — not a minimalist influencer.
My FilmBüro has a standing desk that goes up and down, a huge second screen connected to my laptop, a separate keyboard and mouse, and a dedicated charging area for my smartwatch, phone, and earphones. 
But the real signature is the accumulation of production life: stacks of cameras (including my 16mm Bolex camera), tripods, books, posters, hard drives, and my orange Olympia typewriter. I even keep a map of the world to remind myself to think globally, not locally. 
And yes — I also have Playmobil characters in there sometimes, because I like experimenting with staging like a kid playing, but with a director’s brain. 
2. What equipment does a film essayist need?
In my experience as a filmmaker, the basic kit is almost insultingly simple:
• a computer (ideally a laptop)
• pen + paper
• earphones
• a microphone (preferably a good one for narration) 
Everything else is extra. And most of what exists in my office didn’t arrive because I went shopping for an aesthetic — it accumulated from different productions and different needs over time. 
3. What’s the best desk setup for writing and editing film essays?
I’ll say it directly: I’m very happy with my setup.
I finished my documentary My Sister Shira in this exact environment — and the setup is literally featured in the film itself near the end, where you can see me editing. 
In my book, the best desk setup is:
a good laptop + one big second screen. It’s faster, it’s more efficient, and it makes editing less painful. 
4. What is the best computer for film essay editing?
I’m not going to pretend there’s one holy computer.
My advice is practical: get a computer that can run the latest versions of the editing software you need. Because what kills your computer isn’t that it “dies” — it’s that software updates eventually make it slow and obsolete. 
Buying a newer machine buys you time — maybe five years — before you feel trapped by performance. 
5. What monitor setup is best for video editing and writing?
For writing? You can do it on a laptop. Period. 
For editing? One large second screen is enough for me.
Some people love multiple screens, but in my view, too many screens can become mental chaos: too much stimulation, too much ADHD energy, too many things at the same time. I prefer one assignment, one focus. 
6. Do film essayists need a second screen?
You don’t need it.
When I was finishing The Same Snowy Ground, I was completely broke. I couldn’t afford a second screen, so I edited the entire documentary on a laptop. 
So yes — you can absolutely do great work with minimum equipment.
But I’ll also be honest: once I got a second screen, life became easier. It’s more efficient. It’s nicer. 
And there’s a hidden benefit to starting with nothing: you learn you’re not dependent on gear. You become independent. That’s real self-knowledge. 
7. What software do film essayists use?
For writing, I use Ulysses to connect thoughts and scripts across devices. 
For screenwriting, I usually use Final Draft — not because it’s mandatory, but because it works for me. 
For editing, I’m not even going to name “the best one,” because it doesn’t matter. I’ve worked with basically everything: Premiere, Avid, DaVinci Resolve — even Windows Movie Maker when I was a kid. 
The truth is: find what works for you.
8. What’s the best editing software for film essays?
Any editing software can create great work.
In my view, the idea matters more than the program. Experiment, learn the tool, see what fits your brain. 
My advice: start with free or cheap software. Upgrade only when your work demands it. Don’t spend money thinking it will magically make your film better — that thought pattern is a trap. 
9. What’s the best writing app for film essays?
I’ve already name-dropped Ulysses a few times — I’m not sponsored, but I wish I was. It’s terrific. 
But here’s the real answer:
In my own filmmaking practice, the greatest things I’ve written often started as handwritten drafts. Narrations, scripts, descriptions — pen and paper. 
If you want the “best writing app,” it might not be an app at all.
10. How do film essayists organize their footage and files?
This depends on the size of the project, but my approach is simple:
• one main folder
• clear naming
• subfolders organized by topic/subject 
Inside the editing timeline, I also organize using colors: different colors for different topics, scenes, or clips I need to revisit. 
And I’ll say this from experience: always back up everything. 
11. How do film essayists store and back up projects?
My rule: every project on at least three different hard drives. 
I also keep one mega-huge hard drive that contains basically everything, so I don’t play hide-and-seek with my own filmography by constantly swapping drives. 
And I store backups in multiple locations. It would be genuinely difficult for me to lose a film at this point. 
12. How do film essayists build a minimalist workspace?
Minimalist is easy. It’s basically the essentials:
• laptop
• pen + paper
• microphone (or voice recorder) 
If you need more, the need will appear naturally.
And in my view: rent gear when possible instead of owning it — unless it’s something you know you’ll use constantly. 
13. How do you soundproof a small office for voiceover?
You don’t need to soundproof the entire room.
I create a mini booth on my desk: mic on an arm, a pop filter/screen, and a small foam chamber around the mic. When I speak, I’m basically speaking into foam — a micro studio the size of my head. 
Also: when I recorded narration for My Sister Shira, I used this setup. But when I needed to re-record for the final cut, I did it at my sound designer’s studio — which wasn’t soundproof either — and it still worked because he knew how to make it sound good. 
14. What microphone is best for film essay narration?
I’ll be honest: I don’t know what the “best” microphone is.
What I use is the Zoom H2n. It’s probably outdated by now, but it’s been sufficient for me. 
I recorded narration on basically every film I’ve done since The Same Snow Ground using this same mic — including films I made about David Lynch and Chris Marker. 
I stuck with it because I saw people using it in university and it worked, so I kept moving forward instead of obsessing.
15. Do you need acoustic treatment for voiceover?
No.
As I explained above, you can create good narration with a small desk setup. And if you’re working with a sound professional, you don’t need to worry about it much at all. 
There are also software tools for sound cleanup. I’ve used Adobe’s sound tools in the past — it’s just another layer of post-production. 
16. What lighting is best for a film essayist office?
In my own office, I care less about “cinematic lighting” and more about having a space that makes me want to work.
For me, the best lighting is the kind that makes the room feel alive and usable — and yes, having a beautiful view from the window helps too. 
17. How do film essayists avoid distractions in their workspace?
This answer is not romantic:
You avoid distractions by knowing what you’re supposed to do. You have an outcome, you elevate it above everything else, and you protect it. 
Turn your phone off. Focus. Train the muscle.
In my view: there’s no excuse to let distractions take you away from your work. 
18. How do you design an office that supports deep work?
The greatest deep work tool I’ve ever used is something I stole from Stephen King:
Close the door. 
When you close the door, you make a commitment. It’s a signal to yourself and to the world: you’re working now. It’s a physical shift and a mental shift at the same time. 
19. What’s a budget office setup for a film essayist?
Budget setup, coming from my filmmaking experience:
• laptop
• phone
• earphones
• that’s it 
If you have a good phone, you can film with it and record with it. And if you learn sound editing, you can make even “bad” recordings sound professional.
So the real rule is: master what you already have. Don’t spend money hoping it will make you good. Grow from where you are. 
20. What’s a portable office setup for a film essayist (laptop workflow)?
Portable office is just:
• laptop
• phone
• maybe earphones 
If you really must, you can add a portable second screen — they exist — but you don’t need much. You just need the ability to keep moving and keep working. 
Ideal Office Checklist (Matan Tal Version)
If you want the “ideal version” of my FilmBüro setup, here’s the checklist:
• Standing desk (up/down)
• Laptop + one big second monitor
• External keyboard + mouse
• Mic on an arm + pop filter + small foam chamber (mini booth)
• Earphones (plus a spare pair for editing)
• Hard drives (and a system for backups)
• Space to walk around and think
• Books + visual inspiration (posters, drawings, photos)
• A door you can close (deep work switch) 
Budget Version (What I’d use if I lost everything tomorrow)
• Laptop
• Phone
• Pen + paper
• Earphones
• Any basic mic/recorder you can afford 
Portable Setup (Café / Travel / Minimal Life)
• Laptop
• Phone with synced notes (I use Ulysses)
• Earphones
• Optional: portable second screen if you’re editing heavy 
That’s the office of a film essayist — not in theory, but in the way I’ve actually lived it while making films.
If you’re interested in what is the daily routine of an essay filmmaker, read the next article on daily routine of a film essayist.
About the Author
Matan Tal — Film Essayist & Filmmaker
I have written this guide to clarify my office setup, based on my experience, teaching, and practice in independent cinema.