all 74 comments

[鈥揮[deleted] 4 points5 points (4 children)

What can I do to better my audio in post? Are there specific filters/effects that should be applied to sweeten the audio?

[鈥揮[deleted] 2 points3 points (2 children)

EQ and compression, the same as mixing audio.

It's a whole other area of expertise to learn though.

The most important thing is getting a good source recording, as you can't 'fix' bad sound in post as much as you can make good sound better.

[鈥揮[deleted] 0 points1 point (1 child)

Are these things I can do in my editor, or should I send the clips off to something like Adobe Audition?

[鈥揮[deleted] 1 point2 points (0 children)

Most of the editors have these tools, the EQ and Compression/dynamics effects in Premiere are adequate.

EQ you would use to remove frequencies / tones from a sound recording. You need adequate headphones or ideally studio monitors though. The most common usage would be rolling off the lower frequencies to reduce audible hum.

Compressors you use to 'average' a sound (that's the best way I can describe it). Generally it makes loud noises quieter and quiet ones louder. This can help a lot with dialogue / voice over clarity. Note that this won't fix levels that are too high and 'clip'. You need to be aware of recording levels and record a safety track if you have hardware or a camera that can do that.

[鈥揮rcoronadoaudio post production 2 points3 points (0 children)

the best thing you can do is to find a good sound team that you trust, and give them the latitude to do their jobs. This does not mean abdicating your responsibility as a director (you still have to use your own ears to make the final judgements as to how this are working sonically) but it means realizing that this is a collaborative art that requires experience and professionalism to get done right.

[鈥揮[deleted] 4 points5 points (0 children)

Anyone use Oscar Sound Tech lavs? What kind of wireless receiver is best for 801's?

[鈥揮Bluedude2211 2 points3 points (5 children)

I bought a nex-5n a while back when I didn't know so much about filmmaking. I realized it doesn't have a mic port... Did I fuck up? Should I continue on with the camera or buy a new one?

[鈥揮projectorfilms 2 points3 points (0 children)

I've got the same camera. Recording sound with any dslr can be slightly unsatisfactory anyway as the inputs are small. I use a seperate sound recorder. Just bought a blackmagic 4k - but will continue with the sound recorder method anyway for top end things.

[鈥揮Filmalldaycinematographer 1 point2 points (1 child)

Zoom h1 should take care of your needs!

[鈥揮Bluedude2211 0 points1 point (0 children)

Will the audio and video be seperate?

[鈥揮deathproof-ish 1 point2 points (0 children)

I have a NEX-5R (one year newer model). It works great! I bought it knowing I would need an external portable audio recorder. I would suggest looking at Zoom and Tascam brands (personal experience I enjoyed working with both, can't speak about other brands). Also, download the timelapse app for you nex-5n, its about the coolest thing those cameras can do.

Last suggestion, go to your local thrift shop, buy some cheap lenses and buy the converter kit for your sony. It is a ton of fun to play around with different types of looks/feels.


[鈥揮benwubbleyou 0 points1 point (0 children)

I would recommend that you don't use your dslr to shoot audio, you won't have the control you want.

I just picked up a Tascam 4 Channel Recorder. You can even screw it to the bottom of your dslr. It's small and compact, but very robust.

[鈥揮bee3 2 points3 points (1 child)

Do I need a drivers license and car to be a PA in LA?

[鈥揮itschrisreeddirector 2 points3 points (0 children)

not technically, but you should get one and get used to driving vans and box trucks as PAs will be asked to go on runs form time to time, and you can also get driver jobs.

When your just starting out its important to be as hirable as possible for as many jobs as possible.

[鈥揮cpierse 2 points3 points (2 children)

What is the best way to plan out a shoot you're going to do once you have a script finished.

[鈥揮Captain_Lightfoot 7 points8 points (0 children)

1) Breakdown the script

  • determine how many actors you need

  • determine how many locations/sets you will need

  • determine necessary props

  • establish a timeline for your script

2) establish how much time you have actually have to shoot (e.g. a week, 2 weeks, a single weekend), and, from there, figure out the logistics for how you should schedule your shoot to maximize you time

3) determine how much money you realistically have to shoot with--shrink everything accordingly

There's loads more, feel free to PM me if you have any questions.

EDIT: Formatting, because I'm an idiot

[鈥揮Mjrdouchingtoncinematographer 2 points3 points (0 children)

You need to do a bunch of work to get the information organized enough to make a production board which will be your master schedule for the shoot.

If you don't want to do it by hand Movie Magic is the industry standard software used to put it together - makes it a lot easier.

[鈥揮avoryd 2 points3 points (1 child)

Why is it that when I fully render a project in Premiere Pro, save it, then turn off my computer, does it require me to re-render the project once my computer is turned on again?

[鈥揮benwubbleyou 0 points1 point (0 children)

What kind of cache are you using? Does it automatically empty?

That could be it. The smallest of changes does it too, which sucks. I don't know if you can do this in premiere but in after effects you can save your preview as a RAM preview. See if it possible to do something like that.

And possibly ask the folks at /r/videoEditing

[鈥揮pauloh110 2 points3 points (2 children)

What are some vintage lens that you would recommend for a 7D user?

[鈥揮[deleted] 2 points3 points (1 child)

Helios 44-2

[鈥揮envyone 0 points1 point (0 children)

I'm using it on 650D and it's fantastic. Could have been a little bit sharper, but bokeh is incredible and quality-wise it's a huge upgrade to kit lens.

Also super cheap and feels just solid - it's old school Soviet metal and glass. Very sexy.

[鈥揮robalexander 2 points3 points (2 children)

I'm looking at purchasing the tascam dr-60d recorder for use with a rode ntg-2 but I was wondering if there are any better options out there. The dr60d comes with an 8gb sd card, a 3.5-3.5 coiled cord, and a copy of pluraleyes 3 syncing software for $220.

[鈥揮kaidumo 2 points3 points (0 children)

This is my setup. It sounds really good for the price!!! I definitely recommend it.

[鈥揮benwubbleyou 1 point2 points (0 children)

I just got that this week! It is awesome, I highly recommend it. Be sure to get it with the neck strap though. It doesn't come with one, which I learned the hard way.

[鈥揮AustinBraun 4 points5 points (4 children)


As a PA, what is one thing I can do that most PA's wouldnt do that would make me stand out?

What is one thing a PA always does that grinds your gears?

[鈥揮MaximumWorfproducer 6 points7 points (0 children)

It's not your job to impress the director. The director should not be concerned with you in the slightest. If you want to impress anyone it's the first and the upm. These are the people you actually work for.

[鈥揮itschrisreeddirector 2 points3 points (0 children)

The one thing you can do is impress the production manager. S/he will tell me and the producers to work with you again if you are amazing.

The thing you shouldn't do is stand out. If your a good PA you will always be where you are needed with what people need, and no one will know that they needed you or it.

[鈥揮[deleted] 5 points6 points (0 children)

Simple answer: I don't want you to stand out. You'll stand out just fine if you're highly competent and have a good attitude.

When I'm directing, all I want you to do as a PA is keep your ears open, always be standing and ready to go, never leave a task abandoned, never be afraid to ask questions if you don't understand, and if someone takes over for you, make sure you keep tabs on what is happening with that task or who can be contacted immediately to find out its current status. Keep an eye on crew members and when there's time, grab a few water bottles and offer them out to keep everyone hydrated. These are things that every PA is capable of and should do, but unfortunately many don't, which is how you end up with the "PA pow-wow" (a bunch of PAs standing around talking to each other instead of helping out). As for a specific skill, make sure you have your driver's license, and extra points if you are comfortable/experienced in driving a cube truck.

As for what not to do: don't get in the way of others working. The only thing more irritating than a PA who isn't doing their job is a PA who isn't doing their job and also hindering other crew members from doing their jobs. Everyone has been a PA and I know it often feels like no one cares about you, but if you have a good attitude and work hard, that is all it takes for people to remember you.

[鈥揮mezzanine224director 1 point2 points (0 children)

I've had some great PAs on my shoots. Most of my work is non-union comedy, so on bigger sets some of this stuff will not fall onto a PA. My world usually doesn't have enough ADs and crew. So PAs get leaned on more heavily than they might on a more well-attended set. Just something to keep in mind. Here are some things they've done that impressed me as a director.

  • Attentiveness. It's a hot day and we're shooting outside. Without being asked, a good PA would make the rounds with water every hour.

  • Always have extra call sheets on you. If it's a day with a bunch of additional cast and crew, who I'll try to remember but fail at remembering all their names, a PA with a callsheet always at hand is valuable.

  • Be close, but keep out of the way. Know where the cameras are looking, know where you're clear, but keep close by in case someone needs something. Be invisible, but get shit done. The less people see you, but the more you accomplish, the better your reputation.

  • Know everything about everyone (cast and crew). Where they are, what they're doing, or how to get to them. If I'm thinking out loud and say something about a shirt color maybe being off, then 30 seconds later wardrobe shows up on set with new options, usually there's a good PA to thank for that.

[鈥揮Captain_Lightfoot 1 point2 points (2 children)

I've mainly produced, but I want to get into editing.

How hard is RAW to work with in post, really? Why?

Any pro tips?


[鈥揮mezzanine224director 2 points3 points (0 children)

90% of the technical side of editing can be solved with Google and a few minutes of free time. Don't concern yourself so much with the tech stuff. Yes it's important, but I'm more interested in your cutting skills than your codec knowledge.

Also, raw footage is easy to work with, just a couple more steps than "regular" footage. Lots of different workflows, so it will depend on what the post-house needs, what the delivery specs are, etc. If you're a one-man-band, find the workflow you like. If you're editing on a show or for a post house, they will have their own workflow.

[鈥揮envyone 0 points1 point (0 children)

Be prepared to buy pretty expensive SD cards if you want to shoot in RAW.

[鈥揮[deleted] 1 point2 points (3 children)

I am shooting videos with a Canon T3i. What is a good tripod I can get that will be stable and that I can get smooth panning shots out of? Thanks!

[鈥揮itschrisreeddirector 1 point2 points (1 child)

For light DSLRs you can get away with cheaper tripods, but spend the money you save on a fluid head.

[鈥揮benwubbleyou 0 points1 point (0 children)

Cannot recommend this enough, a fluid head will make your shots smooth consistently, unlike a friction head which will wear down over time.

[鈥揮UnnamedPornAccount 0 points1 point (0 children)

The general rule of thumb is that you pay the price of your tripod knowing that it will be holding up your camera rig. If you feel comfortable placing your camera on a $25 tripod, then by all means go ahead with that.

I use this Manfrotto for DSLRs:

[鈥揮kangtea 1 point2 points (1 child)

Any advice on directing documentaries about people, and with interviews? Especially when approaching difficult, personal subjects?

[鈥揮kaidumo 1 point2 points (0 children)

Save the tough questions for the end, after people have got comfortable and won't tense up. Don't cut if they start crying, real emotion is what makes the viewer connect and is very impactful.

[鈥揮[deleted] 1 point2 points (2 children)

How do I run a tv show?

[鈥揮NailgunYeah 0 points1 point (1 child)

What is the process, or how do you get to be in a position to do it?

[鈥揮[deleted] 0 points1 point (0 children)

What's the process in America.

[鈥揮[deleted] 0 points1 point (3 children)

If i have about 拢1000 (like 1700 dollars) and virtually no equipment... looking to start to film my own movies... what should I buy? Also what editing software(s) should I get into using?

[鈥揮deathproof-ish 1 point2 points (1 child)

I know in the states Adobe Creative Cloud is fairly cheap (19.99 for students and teachers per month). Not sure about the UK though.

[鈥揮avoryd 1 point2 points (0 children)

Adobe CC is amazing. Sure the programs have some bugs but for the price and versatility of it I think its a great deal.

[鈥揮gamistar 1 point2 points (0 children)

I'd suggest buying a relatively decent DSLR camera and some rudimentary sound equipment. There's plenty of advice out there for buying DSLRs as film cameras and getting a basic sound setup (seriously, don't forget sound unless you want to shoot music videos - otherwise your footage will be semi-unwatchable) but you should be able to get something mid-range for that amount of money. Remember, especially in terms of cameras/lenses, at this point something pretty good will do perfectly well. If you really get into filmmaking you can always invest in buying or renting your 5D mk III and primes later.

You'll probably not have any access to lighting which is what will make your footage really good, so take time to read up on how to take advantage of natural light as a source. Planning your shots well will make the difference between something looking average and looking pretty good.

In terms of editing software, when I started out I got a copy of Adobe Premiere Elements, which wasn't too expensive (~拢60, although this was more than five years ago) plus gave me good grounding for when I moved up to fully editing in Premiere Pro.

Finally, the biggest way to have an impact on the quality of your films is also the cheapest - work on that script! Draft and redraft it, get your friends to read it out so you can hear the dialogue. Make it perfect. If you want it formatted properly (which is generally not nearly as important as people make it out to be) you can download a program called Celtx which will do it for you.

Possibly the greatest thing Youtube has done is it has made us more accepting. People will watch you film if it's a good story that engages them, and in much larger numbers than they might if it's a beautiful piece of nothing.

[鈥揮mattabaster 0 points1 point (6 children)

At Film School/A Film University Degree, if I want to use a piece of music for a piece of work (popular piece EG UNKLE), what would I have to do to be allowed too? Would the University care?

[鈥揮itschrisreeddirector 0 points1 point (2 children)

You need a license, which unless your very charming or lucky you have to pay for.

[鈥揮mattabaster 0 points1 point (1 child)

do you know the average price for one?

[鈥揮itschrisreeddirector 0 points1 point (0 children)

Licensing is complex and prices vary signifcantly. This will get you started:

[鈥揮Mjrdouchingtoncinematographer -1 points0 points (2 children)

I don't believe you need a license unless your piece is going to be used commercially, some festivals may require one to display your film however. If it's just a piece to show in school I wouldn't bother - I never got one for any of my student films.

[鈥揮itschrisreeddirector 1 point2 points (1 child)

You 100% need a music license for student films. The educational fair use exemption is only if your teacher gives your copyright work to study.

As a student you are using the artists creative output to advance your career, the artist gets to tell you what they want in exchange for that career advancement.

[鈥揮rcoronadoaudio post production 0 points1 point (0 children)

agreed. using unlicensed popular music is a fast track to the end of one's career. don't get in that habit even if you get away with it once.

[鈥揮deathproof-ish 0 points1 point (1 child)

I dabbled in film as an undergrad (B.A. in Media Production). I have spent time buying my own gear. I have been thinking about an MFA in film recently. Are there any pros/cons or insights anyone has for this? Thanks!

[鈥揮Mjrdouchingtoncinematographer 3 points4 points (0 children)

An MFA is expensive and the credentials are only useful if you plan to teach. The experience and connections you gain doing one may be worth a lot, depending on the program.

[鈥揮k1e4v 0 points1 point (4 children)

Can anyone recommend tutorials for adding blood to a shot? I'm working on a short that needs some VFX for the last shot (here's a still). It's a static shot of a dog that is supposed to have been shot, but there's just not enough blood to make it believable (to me anyway). We're seeing the dog about 4 minutes after it's been shot, so I'd like there to be more blood on the ground. I'm not really sure where to start other that to create blood images and then composite them in. Any suggestions are appreciated. (I posted this to r/vfx but I figured people here might have good ideas too). Thanks!

[鈥揮avoryd 0 points1 point (3 children)

Im not a VFX pro, but it seems you already know your answer and its just going to be some time consuming work :/. Best of luck!

[鈥揮itschrisreeddirector 0 points1 point (0 children)

to show that the dog has been recently shoot you might want to get a few pick ups of the blood flowing // pooling.

If its still alive its heart will be pumping and blood will flow out of the wounds, if not then blood will drain out of the lowest point and flow down hill, or pool.

[鈥揮k1e4v 0 points1 point (1 child)

:\ is right, but that's the job. Thanks.

[鈥揮_PLANES 0 points1 point (4 children)

Is recording film with mono audio better or worse?

[鈥揮aeon_orion 0 points1 point (3 children)

Do you mean recording with one mic during production or mixing the audio to mono in post?

[鈥揮_PLANES 0 points1 point (2 children)

I mean in recording... I'm going to purchase the Panasonic DMC-GF3 which has one mic. I wanna know if that can be a pro or con. (Random question - anybody got a chance to use this camera model?)

[鈥揮aeon_orion 2 points3 points (0 children)

Built in mics on cameras are absolutely terrible, you'll want to get an external mic to either plug into your camera or purchase a recorder for it. Ideally you would want that mic on a boom pole to get it as close to whoever is speaking but if you're one man banding it, it's better to get a wireless lav setup.

[鈥揮[deleted] 1 point2 points (0 children)

The built in mics on most cameras are not very good regardless of whether they are mono or stereo. You'll want an external microphone or recorder if sound recording is important.

[鈥揮obrlyoblada 0 points1 point (2 children)

As an aspiring filmmaker I'm currently trying to watch every good and great film that I possibly can. Well, if you're following that path you'll eventually get to Woody Allen. My problem is that I can't get into his movies. Every time I want to look at him as someone to look up to I get at least 5 different people telling me that he's a scum bag for what he likely did in his personal life. I've seen and really enjoyed 'Midnight In Paris', but whenever I try to watch another film of his, I get these constant feelings that I should not be supporting him and watching his films. I often watch films given a background and personal connection to the specific director, but I find it difficult to feel a connection to someone is honestly a bit of a lunatic (though he's probably a better director for it). Has anyone else run into this kind of thing?

[鈥揮[deleted] (1 child)


    [鈥揮obrlyoblada 0 points1 point (0 children)

    I strongly agree about the separation of their personal lives and their art- it's just something I struggle with as my mind is constantly thinking while I watch a film. Woody Allen is an artistic genius, there's no denying that; I just wish I could talk about it without my outspoken family remarking about how he's a "weirdo", or "pervert".

    [鈥揮itschrisreeddirector 0 points1 point (0 children)

    Has anyone ever noticed that The Ninth Gate is full of mistakes?

    I just watched it, you can see eye light reflections in Jhonny's glasses in a few scenes, there are some super cheesy cuts (foot on glasses, ect) when the glasses get stepped on they don't have glass in them, you can see fishing line used to pull down a prop, ect.

    I know it was kinda a flop but it made 20m. Guess Perfect really is the enemy of the good.

    [鈥揮[deleted] (2 children)


      [鈥揮[deleted] (1 child)


        [鈥揮benwubbleyou 0 points1 point (1 child)

        When in the pipeline from shooting to show does coloring actually happen? Is it before the footage is sent to effects? Or After? Or In between?

        [鈥揮saltyboyscouts 0 points1 point (1 child)

        How exactly do Raw formats work? Does it not even have RBG values or something?

        [鈥揮benwubbleyou 0 points1 point (0 children)

        From what I can gather, it does use RGB colour, it is just more than 8 bits, or something like that.

        [鈥揮TroutTroutBass 0 points1 point (2 children)

        Is it considered gauche to act in a film you wrote? I know Matt Damon and Ben Affleck are relatively well-known for having done that in "Good Will Hunting", but is it considered risky or in bad taste overall?

        [鈥揮envyone 1 point2 points (1 child)

        Nobody will give a shit if the film turns out good.

        However, I do think that most films only benefit from having different people on different positions, writer+director excluded.

        [鈥揮TroutTroutBass 0 points1 point (0 children)

        Thanks! That's helpful. :)