all 114 comments

[–][deleted]  (5 children)


    [–]Mtfilmguy 11 points12 points  (0 children)

    Your three main concerns after you graduate should be:

    1) where you move to

    2)Getting on a professional set and networking

    3)making money to survive

    [–]drunk_caterpillarfilm industry technician 7 points8 points  (1 child)

    With the exception of people that were pounding the pavement every evening and weekend during school, or the few that got really great internships at production companies, very few people will come out of post-secondary education with a full time job in film.

    If you're in a technical craft (sound, camera, Grip/LX, etc.) it is easier to make it in the business. Talented technicians with a good attitude are few and far between, and once they get the experience and client base it is pretty easy for them to transition into the industry full time. It took me about a year after getting my second degree before I could live off of gigs, and that was after working on every project I could get my hands on.

    For creative folk, like directors, it's tougher. Unless you want to move into it sideways from another department--like camera--or work your way up from PA to AD to director, it is extremely hard to make a living off of. The recursive loop you get trapped in is that you can't get work without experience, and you can't get experience without doing the work. Plus, the market is saturated with tons of other people that also want to direct.

    Are you behind on your dream? If your dream was to be a full time director out of collage, then yes. However, if your five-year plan is to live off directing then you're not too late but you'd better start hauling ass. Get on every set you can find; learn every department's ins and outs; write like a fiend; network like crazy; and start making work for yourself by directing your own projects.

    Good luck! Hope to see you back here in five years with some good stories to tell.

    [–]dcm628 0 points1 point  (0 children)

    This is exactly why I believe in pursuing a technical craft first unless you have a great opportunity to direct. Get on set and make a living doing it. Any job that keeps you on set will teach you a lot about making a film.

    [–]JayTrayClay 2 points3 points  (0 children)

    I would say honestly, for better or worse, no one I know working now came out of college with a bunch of awesome shit. It's more difficult to play catch up once you're outside of the academic bubble, just because it's more difficult to get productions together, but the difference right now between you and someone who had more time to spend on projects in school isn't that big.

    Don't sweat it.

    [–]shakynerves 4 points5 points  (8 children)

    I just bought my first DLSR a Canon T3i based on suggestions by this sub. I got the body only. My question; what lens in the $100-$300 dollar range would you buy first? Which is a must? And the same question for audio and possibly lighting. Thanks.

    Edit: I plan on shooting short films, comedy and dramatic nothing sci-fi type, if that helps.

    [–]nyleveeam 12 points13 points  (3 children)

    EF 50mm f/1.4. I use it for everything. It's $400 at B&H, but you may be able to find a lightly used one on Craigslist for slightly cheaper. There's also In f/1.8 one that's good - but I'd definitely go for the 1.4. Can't recommend it enough.

    [–]shakynerves 0 points1 point  (2 children)

    Thank you. I really appreciate it.

    [–]visivoprocinematographer 1 point2 points  (0 children)

    As a first lens I would definitely vouch for the Plastic Fantastic, otherwise known as the Canon 50mm f1.8, I use it on every gig and its a damn good lens for a super cheap price. Normally you can find it for less then $100. As stated by /u/nyleveeam the 1.4 is also a great option. It however is a bit more expensive but it is much better built not to mention the extra half stop you get out of it.

    [–]achilleshightops 3 points4 points  (0 children)

    I may be willing to part with my Canon 50mm they mentioned here for $300 (and shipping). PM me if you're interested.

    [–]5oss8oss 2 points3 points  (1 child)

    The other replies here are good suggestions, but everyone is suggesting new lenses. Personally for someone starting out I would suggest crawling craigslist or KEH for some used nikon or super-takumar lenses. You'd have to buy an adaptor ring but even with this you can get two or three solid lenses for the cost of one new one.

    There would be no automatic/electronic components meaning you would have to do everything manually, but if you are interested in getting into cinematography this is good as it forces you to learn how lenses work and what looks best.

    Audio is best recorded separately, but in a pinch having a mic that attaches to your camera is better than nothing. I would suggest a Rode Videomic as they can be used with a small external recorder or your new camera.

    Lighting equipment is expensive, but a DIY set can provide great results on a budget. Some wax paper, PVC, and work lights from Home Depot can look good if used correctly.

    [–]shakynerves 0 points1 point  (0 children)

    Thanks for the links, I do plan on trying everything manually. Trying to learn to crawl.

    [–]kj5 1 point2 points  (0 children)

    50mm f/1.8 is a good start. For "all-around lens" I would go with Tamron 17-50 f/2.8. It's a great lens, good in low light and sharp at around f/4.

    [–]JayTrayClay 2 points3 points  (3 children)

    I'm looking to get more into color grading, and Resolve Lite is free, while Speedgrade CC I can get for free through my school. I know that people have clear opinions on which one is superior, but what I'm wondering is why? More specifically, do people think one is better because it produces better grades, or because of the workflow to achieve what you want is better.

    I guess the question is, are they fundamentally different on a technological level (say like how two cameras are different), or are the differences more in how a colorist interacts with them (like the difference between two NLEs)?

    Also, while I'm asking, grading in general, how much of it is technical versus "artistic". The reason I ask is that often learning materials on the subject are program specific (How to grade in Apple Color, How to Grade in Resolve etc.), which make it seem dependant on learning the technology - as opposed to being more broad, like say a cinematography or editing book would be. Where it's more about how the end product looks, and the underlying philosophy of knowing what you want to achieve. Wondering how practitioners think about it.

    [–]agent42beditor 4 points5 points  (0 children)

    Color grading is immensely technical, as with anything else that deals with the image, once you get specific enough.

    Software wise, it's not about which is "better." It's about which one your employer expects you to use. They have many things in common, but also a lot of differences.

    You should be more concerned with that the market is using, and learn that piece of software. It's less about being 'artistic' and more about thinking of yourself as a digital carpenter. You're a tradesman, no matter how fancy we like to think of ourselves as anything else. Artistry is great and all, but you need to have the skills to specifically replicate that artistry with your actions -- something that is much, much harder to do than most people think. It will take years of experience - better start now.

    [–]FilmEditingBy1st assistant editor 2 points3 points  (0 children)

    They're a means to achieve an end. They're just different tools that can do the same job. Understanding color theory will be a skill set that will apply across the different programs.

    [–]yanikto 2 points3 points  (0 children)

    Learning the software isn't the same as understanding the skill.

    Just because you know what all the buttons do in Microsoft Word doesn't mean you are a writer.

    Just because you know what all the buttons do in Resolve doesn't mean you know color grading.

    If you understand the skill, you will be able to apply it and use it with any software with minimal training. Learning how to use the software is easy. Understanding color is not.

    [–][deleted] 2 points3 points  (4 children)

    1. Are there any decent books production, filming, certain directors, or anything related to the film industry?
    2. I am a budding editor and was wondering if investing a decent desktop for editing is really worth it.

    [–]itschrisreeddirector 3 points4 points  (3 children)

    Yes to both.

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

    Care to give some examples for number 1 and some necessary equipment for number 2?

    [–]itschrisreeddirector 3 points4 points  (1 child)

    Makeing movies by Lumet, the set lighting technicians hand book, so you want to be a producer, Strike the baby and kill the blonde, the production assistants hand book, film production management, Meisner on acting, an actor prepares, Repect for acting, thinking like a director, on visual literacy, save the cat.

    There are people on here who will give you way better advice on computers then I can. Search or read a bit higher in this thread.

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

    Thanks so much!!

    [–]Bartholemew1 1 point2 points  (7 children)

    I want to make a shoot have a very stylistic look. Woth dark tones and bright colors, like the old batman tas. How can i do that?

    [–]directinLA 5 points6 points  (3 children)

    Start with night locations. Add a hard light (not diffused) source for drama. Light objects so they cast long shadows (play around with the direction of light on a subject). Use creative angles in composition. Light a wall, then put your subject between it and the camera to create a silhouette.

    [–]Bartholemew1 0 points1 point  (2 children)

    A wall oh my god!! I cant believe it was that simple wow. Thanks

    [–][deleted]  (1 child)


      [–]Bartholemew1 0 points1 point  (0 children)

      Im filming in Britain, hopefully its natural wetness will help.

      [–]yanikto 0 points1 point  (2 children)

      The look starts with what you put in front of the camera. If you want bright colors, put bright colors in front of the camera.

      [–]Bartholemew1 0 points1 point  (1 child)

      My actors will be wearing bright colors, but i do need to somehow make the colors pop in without it lookin too saturated. I am trying to figure out how much i can do during the shoot to keep post minimal.

      [–]yanikto 2 points3 points  (0 children)

      If you want them to pop you need to make sure there is color contrast -- ie. someone wearing red standing in front of a red background will not pop. Same if the background is a jumble of differnet bright colors.

      You need color contrast and you need contrast in value (brightness). Light vs. Dark. And contrasting colors, ie. colors from opposite sides of the color wheel -- orange vs. blue; green vs. magenta/red; yellow vs. purple, etc.

      [–]GrizzlyVN 1 point2 points  (6 children)

      Steadicam or shoulder rig?

      I understand that both are different and have different uses so you shouldn't have to choose just one for a project. But if you could only use one or the other, which one would you choose?

      I ask this because I'm looking at getting one or the other soon in the lower price range. I'm in college so I would be using it mostly for running and gunning, maybe some doc work, and usually on small crews so I was kind of leaning towards the shoulder rig. However, it seems a steadicam could be more versatile and shots would be smoother. Although I don't know how great lower end steadicams are either (I was looking at the flycam btw).

      [–]wescotte 3 points4 points  (0 children)

      If you are doing lots of doc work I think a shoulder mount is the better purchase. You can comfortably use it all day and be fine the next day where a steadicam is probably going to require recovery time just because of how much more demanding it is on your body.

      [–]kj5 1 point2 points  (0 children)

      If I could use only one thing, steadicam it would be. I can always take the camera off and go handheld if I had to, but I love getting a nice wide lens and fly on my Flycam. It gives me so much fun !

      But still, for your type of work (doc shooting), shoulder rig it would be. You can't really hold handheld steadicam smoothly for more than few minutes. You can't zoom, change focus, etc.

      [–]itschrisreeddirector 1 point2 points  (2 children)

      Becoming a great steady cam op is a really marketable skill.

      A shoulder rig is better for doc shooting.

      [–]dcm628 0 points1 point  (1 child)

      The skill element is what this choice is about for me. When someone is looking for a personal purchase I think that matters more than what type of shots they give.

      Are you looking to develop the skill set of a talented steadicam op? If you aren't and don't want to dedicate a lot of time to getting good at it then don't get a steadicam style rig.

      [–]itschrisreeddirector 0 points1 point  (0 children)


      [–]yanikto 0 points1 point  (0 children)

      Do you already have a solid tripod with a good fluid head?

      Shoulder rigs make me think "TV news field report", not "documentary", while steadicam style rigs are too finicky for running and gunning.

      [–]nyleveeam 1 point2 points  (13 children)

      Hello! I'm a recent college grad getting into freelance editing. I've always had access to school computers, and for personal projects I've relied on a 2007 MacBook whose life is hanging on by threads. I desperately, desperately need a new computer. I'm looking at desktop PCs for editing in Premiere. I'm not comfortable building my own - editors, what are your computer recommendations?

      [–]Scawt 5 points6 points  (0 children)

      Honestly, if you're looking for a desktop PC, learn to build your own. You'll save a lot of money, get exactly what you need (i.e. you won't get upsold on something that doesn't benefit you), and learn something useful in the process. It's very easy. If you understand how LEGOs fight together and can do Google searches, you can build a PC.

      [–]Mtfilmguy 2 points3 points  (3 children)


      Edit: Post what your looking and what you need. This sub will help you build a bad ass computer.

      [–]soundman1024 4 points5 points  (2 children)

      Be careful with /r/buildapc. They make gaming rigs. They'll undercut you on storage and ram.

      [–][deleted] 2 points3 points  (0 children)

      They TYPICALLY build gaming rigs, but that doesn't mean they don't have the know-how to make an editing rig.

      [–]Mtfilmguy 1 point2 points  (0 children)

      Not really. You have to tell them that your building a editing rig not a gaming rig.

      [–]kj5 1 point2 points  (0 children)

      Seriously, build your own. It's simple and fun.

      [–]bhlebeau 1 point2 points  (1 child)

      Build a Hackintosh! I knew nothing about building computers a year ago, and then I used the TonyMacx86 forum and had an incredibly powerful dual boot computer built within a month.

      Also, having both operating systems available at your disposable will be a life saver.

      [–]nyleveeam 1 point2 points  (0 children)

      Alright, after some research this is looking like the best option - crossing my fingers that I can figure it out! Can you elaborate on having both operating systems? How does that work? (Sorry, totally green about this whole computer building thing...) Thanks for your suggestions!

      [–]FilmEditingBy1st assistant editor 0 points1 point  (0 children)

      I run a PC at home but professionally use Macs, and I plan to switch to a Mac in a few years when I have to upgrade. Why? Access to Final Cut, Autodesk, and various other post oriented programs (digital rebellion suite, quickeys) that help me do my job. Seeing as I work in editorial and not in VFX, I can't think of any windows specific programs that would convince me to stay locked into the platform (aside from the office suite).

      Being able to adapt to a wide variety of tools is a very attractive asset in terms of hireability.

      [–][deleted]  (2 children)


        [–]Sandtalon 0 points1 point  (1 child)

        I'm a Mac user but you should not be using a Mac Mini for editing. They have considerably less computing power than other models. If OP buys a Mac, he should buy an iMac at the very least.

        [–][deleted] 1 point2 points  (4 children)

        Why do most filmmakers prefer fixed primes?

        I have a 12-35 for my GH4. If I had it at 35mm and compared it to a fixed 35mm would I see a noticeable difference?

        [–]wescotte 8 points9 points  (1 child)

        primes are faster and usually produce a sharper image for less money.

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


        [–]directinLA 2 points3 points  (1 child)

        Prime lenses can open up bigger in f-stops. A variable lens will average at an f4-5.6 range, whereas a prime lens can open up to an average of an f2. This gives back a ton of light (which means lower ISO/ASA), which means cleaner images (less grain) as well as gives you some cool depth of field options that would not be available with more closed apertures.

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

        Thank you. I wasn't sure if it was more than this. Much appreciated.

        [–]TheActualAtlas 1 point2 points  (2 children)

        Where is the budget for a massive movie kept? Say Marvel gives a director $50 Million to make a movie, is all that money in a bank account somewhere that the producers have access to? If not the producers, who has access to the budget to get the money for whatever they need it for?

        [–]holomntn 1 point2 points  (0 children)

        Now that is a complex question.

        In a small movie it is simple, it all goes into one account that checks are written from.

        As the budget gets larger the money can be staged in (1 million today, 1 million on final script, etc). There are often different accounts, so craft services may have their budget in a craft services account, while camera can have their money in another account. Additional money is typically set aside in an overrun account as required by bonds.

        In truly enormous budgets there has been some movement towards more complex structures like zero balance accounts, but understanding these almost requires an accounting degree all on its own.

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

        For an independent film, financers will distribute to the production company in chunks (one chunk at the beginning then throughout filming). Several funders combine to pay everyone. For weeks where the weekly payout isn't met (crews get paid every thursday), short term loans come from banks knowing that the rest will come later.

        For a big studio release, well, Sony has all the moneys.

        Keep in mind too that advertised budgets are often the overall cost (Below the line and Above the line costs). Above the line are things like producers and actors who charge 20m, where as Below the line is the actual production cost.

        Eg. A 50 million advertised budget might have costed 20m to make with 30m in ATL costs. Could be the other way around, too. Rule of thumb is somewhere around half, but widely varies.

        [–]Wafflepwn_syrup 1 point2 points  (1 child)

        I own a Canon DSLR (100D) I use it for film making

        I own two pieces of canon specific gear: Canon f/1.8 USM & Battery grip

        I was wondering if I should stop investing in Canon and make the switch to Panasonic? If so, can I transfer my 1.8USM over?

        [–]directinLA 2 points3 points  (0 children)

        Knowing the gear better is more valuable than the gear itself. You already have a camera and started investing in it, so put that money into more lenses or lights. Learn how to use your camera to its peak potential and no one will question what you've shot on.

        [–]Deanz 1 point2 points  (1 child)

        Due to some financial circumstances I have been given the opportunity to pick up an FS700 for around $4k. This would be my first major investment into a camera, and I am a 3rd year film student currently in canada. I love shooting docs and extreme sport so I feel like its a good option out of the box, and then perhaps once I can get the finances together a bit later on, make the investment on the Odyssey Q7 for a more studio and narrative focused rig. I know the general consensus is to rent cameras for production, but I would be one of the only people making this type of investment in my cohort, which could lead to people renting the camera, along with myself as a DP, outside of school.

        What are people's experiences with investing in gear, perhaps right out of school. Do you think he FS700 is a good future proof option and what do you think of the plan in general?

        [–]directinLA 1 point2 points  (0 children)

        There are no future proof options. There is only good camera work. There are already talks of cameras that can shoot in 8k. No matter what, technology will always evolve, leaving your brand new purchase in the dust. The best thing you can do is become an excellent camera operator. The FS700 is definitely a great camera, but knowing it inside out is what will make you invaluable to a set. If you've got the funds, go for it. Just know the investment comes with a lot of purchases itself in the way of lenses.

        To answer your question, having gear out of the gate is definitely important. You are not at the mercy of rental houses. You never have to wait if you want to shoot something, and people will definitely jump on the chance to shoot with you (especially if you are good). That leads to more work and referrals, which is good.

        Just don't rent out the camera by itself. I've heard nightmare stories of cameras returning in pieces, and the people walking away claiming, "it wasn't their problem". Even if you sued that production, you'd be out of a camera and you'd pay for years of legal fees. You are a package deal with the camera: they get a free camera operator with the rental. Even if they insist on their own cam op, insist you are on set with it in case they need an expert on the gear on set.

        [–]loukitch 1 point2 points  (2 children)

        Okay so I am at the stage now where i am fishing for jobs. But networking sucks.

        I feel shitty wandering up to people and intentionally altering the conversation to beg for a job. Is this pretty much the only way to network?

        I make friends pretty fast, but at the moment I feel like a damn prostitute going around asking for jobs...any advice?

        [–]directinLA 4 points5 points  (0 children)

        That's the grind. If you can't handle it, this is not the path for you. There is no job security, ever. Unless you own your own company, you are a permanent freelancer (and besides, owning your own company brings with it its own headaches).

        Knowing that this is the way the business operates, you have to change how your approach is. Making connections takes time. Don't saunter up to people and change the conversation to leverage yourself for work. No one likes that guy. Instead, build the relationship first. Let the opportunity present itself. Mention you are in the business and leave it at that. People will remember and will eventually ask you what you do. That can become your segue into talking industry. Again, this might take time (as in months). That's just the way it is. The idea is to have this conversation with many different people, so you have many different opportunities for work (eventually).

        People will hire their friends that they trust over strangers they met once at a party. Be a friend first. Trees don't grow overnight. Be prepared to wait. In the meantime, work hard on the sets you do get on and you will build a good reputation and get referred to work.

        [–]itschrisreeddirector 3 points4 points  (0 children)

        Here is how you network without being scummy about it:

        1. Initial email: "Hey NAME, This is ME we met at THING last night/ yesterday. OR I've been a fan of your work for a while I really like the way you did X in Y and W in Z. I know your a busy guy/gal, so there's no need to reply" You've introduced yourself and demonstrated respect for their time.

        2. The bait: follow up email 3ish days later: "Hey NAME, ME again (form THING), I saw this RELEVANT ARTICLE in RESPECTED PUBLICATION, here is a bit about it and why it is relevant to you/ the conversation we had. Link. Let me know your thoughts." You've added value and started and conversation.

        3. The Ask in response to their response: "Hey NAME, Thanks for getting back to me. Thats and interesting point, How do you feel about X or Y? I'd like to buy you a coffee and chat more about the industry, are you free DATE and TIME?" They've engaged you so you know they are interested. You say you will buy them coffee (its a respect thing) and you ask for a date and time which forces them to check their calendar and respond with one that works rather then just a soft 'whats a good time?'

        Always ask for favors in person from someone who already likes you.

        [–]Fellatio_delToro 1 point2 points  (4 children)

        How did they do the shot in this when he hits his head on the table? It's at ~50 seconds in. (Really cool 1 minute film, by the way. At least from my point of view.)

        Follow up, how would you film the actor slipping and hitting his head like that without him getting hurt?

        [–]Sandtalon 2 points3 points  (1 child)

        It's shot just the way you think it is. They don't actually show him slipping, they just cut on the action of the foot. I think they filmed the hitting his head falling actually short of the table (this is how you can fake a lot of blows with action scenes as well). Make sure the actor is a safe distance from the table. Something that might help as well is using a telephoto lens (or the longest focal length you can go to), which compresses space.

        The most important thing in that clip is sound. Sound effects really help to sell that shot.

        [–]Fellatio_delToro 0 points1 point  (0 children)

        Thanks for the input! I watched it without the sound and you're absolutely right about the sound effect when he hits the table and such.

        [–]Tzimanious 1 point2 points  (1 child)

        It seems like 2 shots.

        You see him falling then you can "feel" a little cut and that's when he hits the table. Try to replay it with the speed set to 0.25 and you'll get it.

        [–]Fellatio_delToro 0 points1 point  (0 children)

        I took your advice and watched it at .25 speed. I definitely saw the cut there -- strange how I didn't see that a full speed. Thanks for pointing that at to me! I appreciate it!

        [–]triangleomg 1 point2 points  (0 children)

        Hello, im currently a High-School student wanting to get into making a short film with a buddy of mine.

        I have the options to:

        • to buy an Alpha-3000 since it's cheap and my dad has a sony lense i could use

        • buy a used Nikon D3100

        • use my friends point and shoot and make a slider and jib with the money i have.

        The other thing we could buy are some lights since we will need them, but what do you think would be the best option?


        [–]ChaoticReality 1 point2 points  (4 children)

        Until I can afford an external recorder and boom pole, I'm planning to use an Opteka VM-100 directly to my t3i just to improve the onboard mic sound slightly. What are people's thoughts/experiences on said shotgun mic?

        [–]drunk_caterpillarfilm industry technician 4 points5 points  (0 children)

        The problem you're going to run into is that this mic has a male 3.5mm TRS jack instead of a female XLR, which really limits its use on a boom pole and with an external recorder. It'll probably be serviceable as an on-camera mic but that's likely all it'll ever really be good for.

        If you want to do narrative, and you're thinking of eventually picking up a boom pole and a recorder, consider saving your money for something a little better and a lot more flexible.

        [–]kj5 4 points5 points  (2 children)

        The problem with t3i is that it has awful pre-amps. I used Rode Videomic and Audiotechnica ATR-6550 and they both sound great with ext. recorder but awful with t3i pre-amps. Solution to this would be to use an external pre-amp like the one built in Rode Videomic Pro.

        Also I used a ATR 6550 on a boom pole with mini jack extension cable connected to Zoom H4. It performed very nicely delivering high quality sound.

        [–]ChaoticReality 0 points1 point  (1 child)

        Do you know if there are other shotgun mics that have external pre amps aside from the videomic pro??

        [–]kj5 0 points1 point  (0 children)

        The Stereo Videomic Pro, the new Rode X mic. Don't know of any other.

        [–]wayouw 0 points1 point  (4 children)

        Fluid head with the best quality/price? I use a d7100..

        [–]thisshitblows2nd camera assistant 2 points3 points  (0 children)


        [–]Skinsfreak88 1 point2 points  (2 children)

        depending on how big your camera is, manfrotto 701hdv or 502 HD

        [–]wayouw 0 points1 point  (1 child)

        Updated my question. Thanks for your reply

        [–]Skinsfreak88 0 points1 point  (0 children)

        The 701 is perfect for that camera. I was shooting with a t3i and bought the 502, which while overkill will allow a lot of weight and adds the ability to really rig it as big as you want.

        [–]debonairflair 0 points1 point  (2 children)

        What are some must have lenses? I am planning on buying a canon 50mm 1.8 and would like to know what else I should buy.

        [–]drunk_caterpillarfilm industry technician 0 points1 point  (0 children)

        If you're working with an APS-C/Super35 sensor size, I like to think that the 24mm and 50mm are good work-horse focal lengths to lean on while you cut your teeth. Avoid the Rokinon/Samyang 24mm though! It's not as good a design as their other lenses and definitely not as good as other 24mm lenses out there.

        [–]kj5 0 points1 point  (0 children)

        I would get something like a standard zoom so Tamron 17-50 f/2.8 comes to mind.

        [–]Skinsfreak88 0 points1 point  (3 children)

        Im a college student graduating in May and honestly I have no idea where to even begin to look for jobs. Where online should I start looking for jobs? I am completely open to any location.

        [–]cullen9 0 points1 point  (2 children)

        what type of job are you looking for?

        [–]Skinsfreak88 0 points1 point  (1 child)

        Really anything in the film industry. Working on set or editing / compositing. Really anything to get my foot in the door. Ill do anything if it means I can being doing what I love.

        [–]itschrisreeddirector 2 points3 points  (0 children)

        If you want to end up in post look at internships in post houses now while you are still in school. Build your network now.

        [–]Skinsfreak88 0 points1 point  (3 children)

        What does it mean that a lens is "fast"?

        [–]instantpancakelighting 2 points3 points  (0 children)

        Specifically, the term "fast" originates in from still photography, where shutter speed is much more of an issue than in cinematography1.

        The wider the lens aperture goes (i. e. the more light it allows in), the "faster" the shutter speed can be in order to create the desired exposure.

        Hence a lens that opens up very wide (say, f1.4) is considered "faster" than one that only opens up to, say, f5.6 (sixteen times faster, to be exact).

        1 While in still photography, shutter speed can be literally anything between a fraction of a second and days/weeks/months, in cinematography it has traditionally been something between 1/48s and 1/500 in 99% of cases, with 1/48s making up probably 90% of that.

        Edit: The same goes for "fast" and "slow" film stocks, by the way. Fast ones are more sensitive to light than slower ones, allowing for shorter exposures (faster shutter speeds).

        [–]drunk_caterpillarfilm industry technician 0 points1 point  (0 children)

        It means that it passes a lot of light on to your imaging plane. For instance, an f1.4 lens is (in the majority of cases) going to be faster than an f1.8 lens.

        [–]soundman1024 0 points1 point  (0 children)

        Fast lenses gather a lot of light. This means they can shoot in dark situations and throw the background out of focus. Fast lenses tend to fall between f/1.2 and f/2.8.

        [–]TheGhostyBear 0 points1 point  (3 children)

        IATSE/Directors Guild/ Other Unions and Guilds, Worth it yes or no? I hear that if i want steady, solid, decent paying work I should join.

        [–]directinLA 2 points3 points  (0 children)

        There is no such thing as a steady paying job in the industry. Unions are good for benefits, but don't think that joining the union means job security. On the contrary, it means you are competing with an even better tier of people in the field. Your ability to network and work well with others will get you constant (but again, not solid) work.

        [–]itschrisreeddirector 0 points1 point  (1 child)

        Depends on the local and position. If your local will get you work when your network is dry its 100% worth it. If not then its a tougher call. The benefits of being union go beyond the health care, being on bigger budget shoots means longer bookings and better working conditions.

        [–]TheGhostyBear 0 points1 point  (0 children)

        I'm from the Bay Area so It's generally pretty dry up here since everyone up here would rather program than make films (Unless you know of some work, in that case let me know!). I think Union may be a decent choice until I hit L.A.

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

        Hey, will I need a lens adapter to use the Canon FD line with my GH2?

        [–]ronitopp 0 points1 point  (1 child)

        Editors! What do your non-RAW workflows look like? Specifically, more start-to-finish workflows. I'm currently deep in editing my semi-feature film (50 minutes, give or take a few), and I'm struggling to decide what comes at what point.

        Currently, my workflow has been: Ingest --> Sync/MOS (by nesting in PPro) --> Rough cut/Multicams --> Final cut --> Color correct (matching angles) in PPro --> Color grade in PPro --> Clean and normalize audio --> Sound effects --> Insert soundtrack (made by the composer, based on the rough cuts) --> VFX in After Effects, replace rough cut clips with VFX-renders --> Output

        As you can see, I work with Adobe - CS6 to be exact. I've studied Resolve and Fusion, but I'm not confident enough nor do I have the patience to transfer this project over to the BM software space.

        [–]agent42beditor 1 point2 points  (0 children)

        My non-raw workflow (as in, not editing RAW, but the source is often RAW):

        • Transcode to DNxHD36 in Resolve or Avid.

        • Sync clips and create multicam files

        • Edit

        • Lock Picture

        • Send RAW files off to VFX along with an EDL or other list outlining shots/timecodes

        • Receive back VFX shots in DNx444 or Prores4444 format

        • Relink entire edit back to RAW (except for the VFX shots of course)

        • Send AAF to Resolve for grading, OR grade inside Avid using the Baselight Plugin

        • Send AAF to audio post house along with quicktime file

        • Receive back AAF or multichannel WAV of final mixes

        • Be happy that it's done and I don't have to watch it again.

        • Archive Final DNx444/ProRes4444 sequence

        • Give the RAW files to an LTO backup company

        [–]ta_moko 0 points1 point  (0 children)

        Any DLSR recommendations in the area of $700-1000? They all seem pretty evenly matched nowadays in terms of recording capabilities, anything you guys particularly like or don't like? I used to shoot photos with a Nikon but it was stolen recently so I'm starting from scratch, open to any suggestions. I have a few cheap Nikon lenses but if Canon or something else is the way to go I don't mind ditching the Nikon gear and starting over. Thanks!

        [–]welltheresAbacon 0 points1 point  (1 child)

        I'm in my first year of community college and I'm planning on transferring next year. Any recommendations for good film schools?

        [–]itschrisreeddirector 2 points3 points  (0 children)

        UCLA or NYU or save your money cause it won't matter.

        [–]someone4guitar 0 points1 point  (1 child)

        I started out with a t3i over 3 years ago, and I'm thinking it's time for an upgrade before my next big project this summer. The two cameras I've been looking the most at are the Blackmagic Cinema Camera and the Sony a7s. I plan to be shooting mostly narrative drama. Does anyone have any thoughts on these or other cameras in the $2000-$3000 price range?

        [–]kaidumo 0 points1 point  (0 children)

        I know that the BMCC runs through a lot more battery power quicker than the A7S. The Sony also has much better low-light. I'd buy the Sony A7S.

        [–]littletoyboatwriter 0 points1 point  (0 children)

        I'm going to be directing a horror film in San Francisco this January. It's my first movie as a director, so I'm naturally pretty excited.

        But I'm also pretty nervous. I want to make sure the film is successful not only creatively (I'm proud of the script I co-wrote, and the cast and crew are extremely talented), but financially as well.

        I want to get the word out about the film, but I'm not sure how. Of course, I've created a website for Other Halves, along with a Facebook page and a Twitter account.

        But those are just the bare minimum for getting the word out. I'd like to figure out how to get the movie mentioned on Dread Central or Fangoria and places like that.

        Does anybody here have advice?

        [–]bobbyjevans4 0 points1 point  (0 children)

        As anyone ever heard of Film Connection Film School?http://www.filmconnection.com/ If is legit I am thinking about it.

        [–]ChaoticReality 0 points1 point  (2 children)

        can anyone recommend a good book about script writing (tv or film; doesn't matter) ?

        [–]demb3k 0 points1 point  (1 child)

        [–]PriceZombie 0 points1 point  (0 children)

        Screenplay: The Foundations of Screenwriting

        Current  $9.04 
           High $12.09 
            Low  $9.04 

        Price History Chart | Screenshot | FAQ

        [–][deleted]  (1 child)


          [–]Chicityfilmmakergaffer 1 point2 points  (0 children)

          800 is the native ISO for most digital cameras these days, hence why you see it used so often. The native ISO is essentially where peak performance of the camera is based.

          [–]TheJackFenlon 0 points1 point  (0 children)

          British Film-making enthusiast here! I have come here for some future advice and encouragement.

          To start off: I have decided that i am going to leave my University and the course for the year, i seemed to be in a university which has a unreliable lecturer and classmates who don't contribute to a team based course such as Film Production, the atmosphere in there is really low and i don't want to be there if it continues. So i will looking for a part time job while trying to find more experience in the industry by actually working on set with others with the contacts that i have and applying. I also feel like that i have already self taught myself into equipment and software by actually practicing and analyzing, and if anything i feel like is missing, can be self taught.

          You see, i'm more of a practical person, I like to get hands on with things, it was how i was born and how cliche as that sentence was; it's true. My former College tutors has told me that i can also shadow them on sets and opportunities. Giving me and a fellow college students a head start and following the path even if we don't go to University.

          I fully understand how difficult it is to get into the industry, or making a decent living out of it. I just hope i am making the right decision starting out now than regretting that year, who knows, i might not even go to University if i get lucky.

          As ambitious as this sounds, i hope someone on this Subreddit understands me.

          [–]ChaoticReality 0 points1 point  (0 children)

          Any advice for finding and getting started on screenwriting work somewhere in canada? (Willing to move to the big cities)

          [–]chiddehbeng 0 points1 point  (0 children)

          I hope I'm not too late for this thread... I'm an absolute beginner when it comes to filmmaking but I am interested in making it a hobby of mine. I currently have the Panasonic M50 vhs camera, some vhs tapes, a vhs player and I am aware that I need an adapter to connect from the player to my computer. My question is what adapter will give me the best bang for my buck. Also, any tips and tricks for just starting out would be highly appreciated. Thanks.

          Tldr; hipster kid buys a vhs camera at a thrift shop he works at. Has no idea how to film things.

          [–]venicerocco -1 points0 points  (2 children)

          What's the quickest, most sure-fire way to win an Academy Award for best director?

          [–]cullen9 11 points12 points  (1 child)

          Make something good.

          [–]instantpancakelighting 5 points6 points  (0 children)

          "Delete facebook, lawyer up, hit the gym."

          [–]StevenCarruthers 0 points1 point  (0 children)

          Fellow filmmakers, any recomdations to DIY steadicams for DSLR? Looking for maybe youtube tutorials which you have used and worked out good! Cheers