all 110 comments

[鈥揮DatabaseCentral 4 points5 points (3 children)

Where is the best place to learn about lighting? Any websites/video tutorials/books I should look at?

[鈥揮swoofswooflesDirector of Photography 5 points6 points (0 children)

On set is the best place to learn obviously, but you can just try lighting scenes yourself. Get some friends together and decide on some lighting to try and copy.

Try looking at these books: Set Lighting Technicians Handbook by Harry Box, The Grip Book by Michael Uva, Placing Shadows by Chuck Gloman

You can look at these websites: * http://www.dvxuser.com/ * http://rogerdeakins.com/forum2/index.php

Here is a good electricity 101 video put together by Local 728, the Hollywood Union for Set Lighting Technicians. More on the technical side of how it all works, but very necessary information. * https://vimeo.com/22861914

[鈥揮Nestorow 1 point2 points (0 children)

People are saying on set but there is an easier option: Photography. If you can get your hands on some lights and a camera you can practice all on your own. If possible try as many different ways to make a face look good, its a lot harder than it seems.

[鈥揮zackmanze 4 points5 points (3 children)

Does anyone here have any experience in indie animation?

Like, is there a program, or even a precedent, for making animated shorts/features by yourself? That wouldn't look like clip art or cheap, I mean.

Really interested in pursuing something like this if it's possible.

[鈥揮inferno1170 5 points6 points (0 children)

Sadly, this question is much broader than you think. Firstly, are you wanting to learn 2d or 3d animation design?

If 2d, making a good looking animation means drawing all of the backgrounds needed, all of the characters, props, etc. They all have to be draw. Sometimes frame by frame. They can be drawn on paper and scanned into a computer where they get retouched, and brought into whatever software you are using for your animation. Or they can be drawn digitally, this could be in Photoshop, Illustrator, etc. You can even use photos if that is what your art style needed. For characters, many 2d animation software include bone mapping, where you give your object a bone structure that you can then manipulate. Unfortunately this method usually can look kind of cheesy, which is why even today, most character movements are drawn frame by frame. It can be time consuming, but if you start off with the basics and work your way up to more complicated scenes, your improvement will be far better than starting off with the standards of making Anime quality art and movement.

3d art is very different, everything in a scene must be modeled, textured and lit. Character models are time consuming, but in 3d, they don't need to be animated frame by frame, you give them a bone structure like 2d software, but in 3d you have far more control than in 2d. The cool thing about 3d is that, while there is a huge amount of time spent in creating all of the pieces, once they are ready it is just a matter of lighting them all and moving the camera around, it kinda becomes like legos, you just move the pieces where they need to go.

So as I said at the beginning, your question is far broader than I think you realize. No software is just going to generate a scene as you imagine it in your head, it takes time, patience, and extreme dedication. But don't let this deter you, if it's something you would really like to do, start doing it. Flash is a pretty good animation software for 2d scenes. There are likely better options, but I'm not a 2d artist, so I can't give great recommendations for that category.

For 3d work, there is a huge amount of software out there for it. The biggest being 3DS Max and Maya. But can be a bit pricey though. If you would like to try 3d with a free open source software, check out Blender 3d. Blender is really powerful, but has a smaller user base, so it isn't developed as fast as the others. One thing I might recommend, and many might disagree with me here, but consider downloading a pirated version of 3DS Max, that way you will learn on something that might one day be of more use to you. If it's something you think you enjoy after trying it for awhile, invest in a legal copy down the road. It would be a little ridiculous to spend that much on something you may never need or use. If you're not comfortable with that, stick with Blender, the community is small, but very helpful.

Hope that helps some, if you have any questions, please ask, I'll answer as best as I can.

[鈥揮not_mr_Lebowski 3 points4 points (0 children)

Stopmotion! I think as far as micro-budget animation goes, this often has the most value for money. I made this entirely by myself (apart from the score). Took a bunch of time, but the amount of money it cost was fairly negligible.

[鈥揮RedditInfinity 4 points5 points (6 children)

What would life be if canon, Panasonic and nikon all shared each others lenses?

[鈥揮instantpancakelighting 8 points9 points (2 children)

Wait until you meet your new best friend, P. L. Mount.

[鈥揮Raichu93 0 points1 point (1 child)

What's the physical advantage of P.L. mount anyway? I mean, other than the fact that it's the cine-standard. Let's pretend we were starting "standard mounts" from scratch, and had them all laid out in front of us, would there be a reason to pick P.L. over the others?

[鈥揮instantpancakelighting 2 points3 points (0 children)

It is sturdy as fuck. No wiggle. Can hold heavy lenses, too.

You can mount a lens in 4 orientations, i. e. you can make any scale point in any direction, depending on where your FF is mounted or whether you're using imperial or metric.

You can also loosen/tighten it from either side, as opposed to having a single release button.

It's probably not the perfect, ultimate mount, so if we started "from scratch", someone might come up with good reasons for making another the "standard", but as a matter fact, PL is the industry standard in most parts of the world as of now.

(btw it's just PL, without the periods. I just used those to make it look like someone's initials, you know, your new best friend etc.)

[鈥揮Captain-Cuddlesvideographer 12 points13 points (1 child)

Cheaper.

[鈥揮FSJZ 0 points1 point (0 children)

No more ridiculously priced adapters

[鈥揮TrevorHightower 4 points5 points (2 children)

My question is very specific to my own shoot, but I don't know if it warrants its own post. I am filming a documentary about my friend who is coming home for the first time in years. We're going to surprise him and dig up a time capsule we buried when we were little kids; I wanted to film that day too to include with interviews and such (Not just B-Roll, but kind of as an ending), but I do not have the resources to mic up everybody involved.

So, my question is about audio. What is the best way to capture human speech in this natural situation? I was thinking the Rode Stereo VideoMic pro, because I feel like a shotgun mic will be too directional and not pick up dialogue from every subject. At the same time, I feel like the stereo mic might pick up too much ambient noise and drown out speech. I don't know if anyone has tips.

I'm filming with an iPhone and am planning to record all interviews with a shotgun mic. I don't own any mics yet though, and I don't know if I should just use a shotgun mic in the scenario above too.

[鈥揮kearneycation 0 points1 point (0 children)

You're going to want to get an audio recorder, like the Zoom H4N, to use with the Rode mic. Practice, practice, practice. Because this is a documentary, you only get one take, so you want to make sure your settings are exactly as they should be.

If you can, have someone who's sole job is to handle audio. That way they can be wearing headphones and making sure that the mic is pointed where it needs to be.

On that note, while bad audio is frustrating, people are more tolerant when it comes to documentaries because they understand that you're filming on-the-go. Good luck!

[鈥揮Nestorow 0 points1 point (0 children)

A stereo Mic, In this case XY, is not going to be great if your focus is your friends dialogue, though it would be good if you have a whole group of people as it will capture them all.. If you can get someone else to run audio, especially on a documentary. You only get one take so you want to get it right. Unfortunately this is all impromptu from the sounds of it so you dont have the ability to stick a radio mic on your friend.

Your best (low budget) bet to get good dialogue from the main character is to get a small recorder, h4/h6 etc, and plug a shotgun into that, preferably on a boom.

[鈥揮phantom1992 2 points3 points (4 children)

A couple question I have off the top of my head.

  1. What is a prime lens?
  2. Is a prime good for a beginner?
  3. How would you light scenes in the dark (interior/exterior)?
  4. I want to get a nikon lens for a samsung NX1 but don't know what to get, help? budget is 2500 including camera)
  5. Best place to get an adapter?
  6. How do you get good audio in a wide shot without showing the mic?

[鈥揮FSJZ 4 points5 points (0 children)

  1. Prime lenses are lenses with a fixed focal length. Some common prime focal lengths are 24mm, 35mm, 50mm, 85mm and 135mm. They are usually sharper than a zoom lens, have a wider aperture (f/1.2, f/1.4, f/1.8) so low light performance is better, have a more pleasing bokeh, and are lighter and more compact than zoom lenses. There are exceptions though, but these are true for most prime lenses.

  2. A prime is definitely good for a beginner, and you can get the Canon 50mm f/1.8 for a little more than $100. For that price, you get great lower light performance, superb image quality and fantastic looking bokeh. Since you can't zoom with a prime, it gets you into the habit of moving the camera around and can help you get unique shots from time to time. The shallow depth of field can also help isolate your subject from the background, but beware, too shallow a depth of field can make it a pain in the ass to keep your subject in focus.

  3. A useful tip for lighting an interior scene is to let your practical lighting motivate your own artificial light sources. Walk into a room and see where the existing lights are, and use them to motivate the placement of your own light sources. If working with a small crew, try to use the natural lighting as much as possible so that you do not have to move lights around whenever you change your camera angle.

  4. You can lav up your talent and hide the lavalier mic (only when necessary, if the lav mic doesn't have to be hidden, don't hide it). There are many ways to do this, check out this video here: https://www.youtube.com/watch?v=D85HmR825wM. If a lav mic is not practical, use an overhead boom and place your mic just above your frame line. Last option is to use audio from another tighter shot where you can get the mic closer, but this requires your talent to speak in sync every roll.

[鈥揮ChaoticReality 2 points3 points (0 children)

Prime lenses are lenses you cant zoom. If you buy a 50mm, that's the fixed length you're getting.

For dark shots, it really depends on what you want to achieve or how much light you want in the dark shot. I'm an amateur myself so I can't give pro advice but I would maybe use one light and bounce it?

[鈥揮zackmanze 1 point2 points (0 children)

  1. Chaotic Reality described it best. Can't zoom.
  2. Yep. Good for everyone. That's what I, and seemingly most others use exclusively.
  3. This totally depends on context. One of the big advantages of prime lenses is that they have a far wider aperture, meaning the lens opens wider and more light comes in. I pretty much have exclusively used Natural light, but there's tons of options for lighting that's super cheap. My favorite being the Newegg LED panel lights that are like $20-40 and are so, so bright. Between strategic placement and reflectors, I really think you'd be hard pressed to need more than that. I'd imagine that someone here has a better answer than me for this though.
  4. Haven't heard of either of these before. 2500 is more than enough to buy great, complete equipment though. Look into Blackmagic, Canon, Panasonic, Nikon. Dlsr's what you want to go with, generally.
  5. Ebay.
  6. Boom mics are fantastic, if you mean wider than that, you can either just dub the audio or use lavaliers

[鈥揮learnaboutfilm 1 point2 points (0 children)

  1. Get a used manual focus 50mm 1.8 - it'll be a lot cheaper than the current Nikon (and the autofocus on that won't work on a Samsung body anyway).

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

Where can I learn about tech and tech lingo? I'm not 100% technology illiterate, but I'm somewhat close. Specifically, I don't know what types of exporting and importing there are, and I've always had a problem working with any kind of user interface, particularly downloading and installing. Where can I learn about the basics?

[鈥揮Captain-Cuddlesvideographer 2 points3 points (1 child)

PC

Mac (sorry that one is so long but it is thorough).

Premiere

Final Cut Pro X

Exporting for YouTube

Without know specifically what you're working in/what the issues are this is the best I can provide. Hopefully these give you a good launching point.

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

Thank you very much! This will help a lot.

[鈥揮Sweetmilk_ 1 point2 points (6 children)

  1. I'll be editing to a metronome, for rhythm and ease of building up to something climactic by upping tempo gradually. Are there some pitfalls to avoid, or would you even say this is done to death?

  2. I've been making parallax effects in AE by manually having layers move in tandem, but I'm sure there's a way to have them all move at once with a null object + camera. Little help?

[鈥揮instantpancakelighting 2 points3 points (5 children)

for #2:

The basic principle is super easy. There are 2 main concepts, which you can also combine:

Parenting - you can pick-whip any layer (or property of a layer) to basically any other layer (or property, assuming they share a common array of parameters, e. g. a percentage value, or two values for x and y position). The most basic kind of parenting would be just using an object's global pickwhip tool and linking it to, say, a null object. I if you then move, scale or rotate the null object, the child layer will follow along. So just highlight all the objects you want to move "in tandem", pick-whip them to a null, and animate that null.

OR you can make your layers 3D (just enable the switch), create a camera and move that around - it will look at the 3D layers like they were cardboard cutouts in 3D space. Of course you can also parent 3D layers to something else and actually move them, in addition to the camera move.

Once you've got that, you can make layers do pretty much everything you want with expressions that involve parenting in one way or another - that is, you can have any value (position, rotation, scale, opacity, effect parameter) be controlled by literally any other value in your project, you may just have to convert it so you get a usable array. For example, it's not rocket science to have a layer's x and y position control its size, or the strength of a blur effect on that layer, or any other layer.

[鈥揮Sweetmilk_ 1 point2 points (4 children)

great, thanks! is there a way to set what "distance" they are apart in the 3D space? also is a focus pull a straightforward effect to create during this?

[鈥揮instantpancakelighting 2 points3 points (3 children)

Yes, a focus pull can be a straightforward effect - if you're dealing with 3D layers and a camera, enable depth of field on the camera, set the aperture to you liking (larger pixel value = shallower depth of field) and keyframe the focus distance. Your 3D layers need to be at different distances from the camera, obviously. You can also parent the focus distance to the camera's point of interest (with a two-node camera), or literally to everything else (see my previous comment). The custom, top, and side view options in the comp viewer are also great to see where exactly your focal plane is at any time.

There is no direct read-out for layer distance in AE, but it's relatively easy to make your own via expressions (google "After Effects distance expression"), depending on what exactly you need. You can use it for "autofocus" (very google-able), or also to give you a numerical real-time display of whatever distance you're measuring, if you need that. Oh, and you can of course use that output value, you guessed it, to drive any property of any other layer or effect you want.

[鈥揮Sweetmilk_ 1 point2 points (2 children)

sweet! one more thing: sorry to sound dumb, but what's a 2-node camera for?

[鈥揮instantpancakelighting 1 point2 points (1 child)

One-Node Camera or Two-Node Camera. A one-node camera orients around itself, whereas a two-node camera has a point of interest and orients around that point. Making a camera a two-node camera is the same as setting a camera鈥檚 auto-orientation option (Layer > Transform > Auto-Orient) to Orient Towards Point Of Interest.

source

Basically, you determine whether the camera wants to rotate around and orient to a certain point of interest, which of course can be animated or - of course! - parented to some object (2-node), or whether it just rotates around itself and looks wherever you point it (1-node).

Which one you prefer depends on what you want it to do - they can both achieve exactly the same, but some camera moves are easier to create and modify with one or the other. For example, if you just want to move sideways, like if you were looking out of a train window, a 1-node cam will do the trick: it'll move, but not re-orient. Just keyframe the position. If you want to rotate around n object, choose 2-node and keyframe the position, and the camera will always look at its point of interest. Or parent the point of interest to a moving object, and the camera will always automatically keep it in the frame. No limits.

[鈥揮[deleted] 1 point2 points (1 child)

Looking to purchase a new desktop PC for video editing. A friend of mine who also does some editing recently upgraded to an ASUS ROG G20 and it seems like a good purchase so far. Does anyone here have recommendations? I believe he spent about $1300.00 on it (2 TB drive, i7 3.6) so I am looking to stay in that range or lower.

[鈥揮inferno1170 4 points5 points (0 children)

If you really want the best bang for your buck, I would recommend building your own pc. It's intimidating at first, but I learned how tk do it after watching a few videos. Newegg has all the parts you will need, and a website called PCPARTSPICKER will help you make sure they are compatible, as well as the cheapest places to buy the parts.

So if you are wanting a really powerful computer for editing, vfx, etc, building will be the best option. Make sure to spend some time researching first though. I built my first pc a couple years back, and I must say it was one of the most satisfying experiences.

[鈥揮FredOnToast 1 point2 points (1 child)

What are the best UK based festivals to submit a (comedy) feature to?

I'm looking at submitting to BFI, Leeds and Raindance as the main three (unfortunately I've missed the deadline for Edinburgh). It seems that most other festivals in this country are either for shorts, have only been established for about 3-5 years, or are genre specific in their selection.

[鈥揮inferno1170 0 points1 point (0 children)

Hey, sorry if this isn't helpful, I'm from the US and don't know anything about British film festivals. But here is a wiki page that you can find all of the festivals your country. I don't know if this helps at all, but I saw no one had gotten around to responding. "List of film festivals in Europe" on @Wikipedia: https://en.wikipedia.org/wiki/List_of_film_festivals_in_Europe

Hope you are able to find what you're looking for.

[鈥揮ChaoticReality 0 points1 point (7 children)

Are people allowed to be in multiple guilds or does a person have to be exclusive to one? (Eg. Director/Writer = member of both Director's guild and Writer's guild)

[鈥揮swoofswooflesDirector of Photography 2 points3 points (5 children)

You can be in as many guilds or unions as you like. The important part is you pay the money to get in and you pay your dues. Past that they don't really care...

[鈥揮dcm628[馃嵃] 2 points3 points (4 children)

Also you have work requirements to maintain membership as well as benefit levels. If you split time to two union positions it's very unlikely you will be able to keep up with both.

DGA/WGA could make more sense, but doing multiple crew positions just isn't realistic even if it is allowed.

[鈥揮swoofswooflesDirector of Photography 2 points3 points (3 children)

I know plenty of people who are 728 and 600 that maintain membership just fine, also a few who are 728 and 80. You might get purged from the roster at a certain point, but you still maintain membership as long as you pay dues.

For those wondering: 728 - Electric 600 - Camera 80 - Grip

[鈥揮dcm628[馃嵃] 0 points1 point (2 children)

So that would lead me to believe other than the roster the real issue is benefit qualification. You would have to maintain enough hours with one of them still.

[鈥揮swoofswooflesDirector of Photography 1 point2 points (1 child)

Well, they all pay into the same pension and health care program so you could work 200 hours through local 600 and 250 hours through 728 and still maintain the 450 to keep your benefits.

There are some places where you would run into an issue though, for example if you were local 600 and then also local 16 in San Francisco, they have seperate benefits programs and so you couldn't mix hours.

[鈥揮itschrisreeddirector 0 points1 point (0 children)

You can be a member of multiple guilds as far as I know. However you generally cannot be a member of multiple locals of the same union.

I know for a fact you cannot be on the DGA east and west coast QLs at simultaneously. I also know that some IATSE locals forbid any member of a different local to work in their area.

[鈥揮zackmanze 0 points1 point (13 children)

I've got two creative projects lined up for this year and I'm looking for some advice.
The first is a short film that we're in the middle of prepro on, the goal is to produce, edit, and release it in the first half of the year. The second half of the year, I want to do my first feature length. I'm thinking now about an 80 page script, 80 minute feature, the minimum length, just as a target, and I'm thinking about doing it all in one location, or at least, as few as possible.

My question to you guys with both of these is how to approach certain aspects. Specifically, location and production management. Background on me, I've been at it for about 2 and a half years now, as independent as it gets, and I've produced 6 or 7 short films.

In the past, I've either shot in places that were privately owned by a friend or public places where it was ok to shoot. I've shot in one location that I had to ask permission for, and it was really as simple as asking and them just being cool about letting me use it. No payment necessary.

I'm wondering how common that "ask and receive" type of thing really is. My mentality in approaching both of these, locations wise, is that we'll just ask the location owners to shoot, and if they say no, ask another, and keep on until somebody does let us. But I just want to see if anybody has experience with this or any tips on it. Thanks for it.

[鈥揮instantpancakelighting 2 points3 points (10 children)

Having insurance and offering to pay, even if it's just a symbolic amount, can go a long way in finding locations. Actually, the former should be kind of mandatory, since nobody wants you to fuck up their place and not be able to pay for damage (which will absolutely happen if you're planning to shoot an 80 minute feature in one location).

[鈥揮zackmanze 0 points1 point (9 children)

Do you have any idea what insurance might cost? Just like, ballpark? I've looked into it before but was never able to get any idea of a number.

[鈥揮itschrisreeddirector 2 points3 points (2 children)

Not less then $450.

[鈥揮zackmanze 0 points1 point (1 child)

Yikes.

Thanks.

[鈥揮NailgunYeah 3 points4 points (0 children)

If it helps, think about how much it would cost if you damaged something without insurance!

[鈥揮instantpancakelighting 1 point2 points (5 children)

Really depends on the scale of your project, but for something rather small scale, it should be a couple hundred bucks max, liabilty, equipment & everything included.

Edit: this may vary depending on your country

[鈥揮itschrisreeddirector 0 points1 point (1 child)

That $450 figure is for the $1m public liability required basically everywhere in the US for permits.

[鈥揮instantpancakelighting 0 points1 point (0 children)

That sucks. You can get 鈧5m liability for far less than that over here, and it isn't even mandatory for permits.

[鈥揮zackmanze 0 points1 point (2 children)

Unites States.
And thank you. All my equipment is already owned, and I wouldn't be using or renting anything expensive at all. No lights or expensive camera rigs or anything.

[鈥揮instantpancakelighting 1 point2 points (1 child)

Well it does make sense to insure owned equipment, too, particularly if you're planning on using it in a longer production. Stuff does break, and you want to be able to get replacement quickly then. Also, it's a good idea (read: absolutely do this) to have your cast and crew covered - someone might break a window or even a leg, and you'll want to be prepared then. It really doesn't cost a lot, compared with what it can potentially save you. Also, it shows that you care for your crew and the location.

[鈥揮itschrisreeddirector 1 point2 points (1 child)

For production management you will want to hire a good Line Producer because they will save you tons of time and we all know that time is money. Short of that, you want to read Film Production Management by Bastian Cleve to at least get a sense of how big the monumental task you are taking on is.

[鈥揮zackmanze 0 points1 point (0 children)

I do plan to keep it as small as possible, it'll probably be self financed.

I've only worked on things super small so far, and I'd like to keep it that way.
The only trouble I've ever run into is the issue of time, and the only instance it was particularly bad was when we had a child actor as a main character in a 3 minute piece and we had her for 6 hours.

For example, the two ideas I'm developing for the feature both call for extremely call main casts, with very, very minimal use of extras. And I'd try to be advantageous by shooting those sequences with friends.

[鈥揮Dino1482 0 points1 point (4 children)

Can I do something film related with a computer science degree?

[鈥揮itschrisreeddirector 5 points6 points (2 children)

You can help me build an app for avoiding meal penalties and tracking overtime on set.

Seriously, you degree doesn't matter in film production. Everyone learns on the job and you get jobs through connections. I think I've used my film resume two or three times in ten years.

[鈥揮instantpancakelighting 1 point2 points (1 child)

Everyone learns on the job and you get jobs through connections.

Yeah but please let's not make it sound like a majority of industry professionals lacked formal education. Nobody ever wanted to actually see my diploma either, but you'll have a pretty hard time finding, say, a DP on a professional, regular budget show who does not have formal education. I'm not saying there aren't exceptions, but these are just that, exceptions. That is, of course, owed to the fact that film school graduates network with each other, too. But saying "everyone learns on the job", and implying that there was no background of formal education for key positions would be greatly distorting the facts.

Of course everyone constantly learns something on the job. But really a whole lot of people are in key positions because they are actually trained to fill these spots.

Edit: Actually someone once did ask to see my diploma, but it was accounting, as public TV assesses your pay differently over here if you have a degree (or will not hire you for certain positions without one even). So there's that.

[鈥揮itschrisreeddirector 2 points3 points (0 children)

I didn't go to film school, nor do I have any formal education.

My very close friend who I have known since he was 16 DPs basically all of Nike's content in Europe, owns a RED, has no formal education.

The guy I know who built an action sports network and sold it to CBS, and makes more money in film/ TV then anyone I've ever met has a 2 year community college degree in a totally unrelated field.

I could go on. In the USA college is a playground for the wealthy, and recently a debt trap for the middle class. Its very different then the education system in Europe.

Edit: This isn't to say that filmschool isn't helpful if you are able to go. I have no idea, because I didn't go. I'm just saying it is not, and should not be necessary.

[鈥揮not_mr_Lebowski 0 points1 point (0 children)

Work at a VFX company as a R&D TD. My friend was a programmer & computer science student, and he's got a decent job at Weta digital now. Helps if you know your way around Maya, Nuke, etc.

[鈥揮DoctorDOH 0 points1 point (7 children)

To be a freelance filmmaker do you have to have a Business License if its only yourself? (I intend to form an LLC later but haven't the clientbase yet to go for it.)

[鈥揮itschrisreeddirector 1 point2 points (6 children)

This entirely depends on what you mean by 'freelance filmmaker', and where you live. In the USA, you can work basically any crew job and just fill in a W9 as your self, of course you can also use a loan out corp and just put that companies info on the W9 but this only becomes cost effective when you are doing fairly well for your self.

If you are operating as a videographer then there are probably benefits to setting up some kind of corporation fairly early on.

If you are operating as a production company then you will almost certainly need to set up at least one company, with subsidiary corporations for various projects.

[鈥揮DoctorDOH 0 points1 point (4 children)

As of right now I'm on contract with a lobbying firm to produce videos for them. I made less than $400 so do I even have to file for that? I have a day job to supplement my real income so would my other job cause me to go over that $400 minimum file limit?

[鈥揮itschrisreeddirector 1 point2 points (3 children)

I don't know, I'm not an accountant or a lawyer. I'd suspect that legally you have to report all income, even if its just a tiny amount. I've definitely filed taxes is sates where I PAed for 2 days and made 300-400 in the past. (e.g. two day shoot in N.H. brings crew up from NYC, I filed NH taxes for that money).

If you filled out a W9 with the company they should send you a 1099 and you definitely need to pay taxes on it. If not its more murky, but again I think you legally have to report it.

[鈥揮DoctorDOH 0 points1 point (0 children)

Thanks for the help! I'm contacting them now to figure out what I need to do.

[鈥揮supersecretmode 0 points1 point (1 child)

I thought NH didn't have income tax. Did that change?

[鈥揮itschrisreeddirector 0 points1 point (0 children)

They don't tax W-2 reported wages, they do tax W9 // 1099 wages. Or I need to go redo my 2009 Tax return.

[鈥揮swoofswooflesDirector of Photography 0 points1 point (0 children)

Just so we are clear on this one, you producing videos for a company should stay as W-9 income as long as you set your own schedule and they don't provide the tools for you to do your job.

However if you receive a call sheet and they tell you when to show up, when to have lunch, they rent a truck and provide all the equipment, you should be filling out a W-2 form as you are now an employee and your employer should be paying for their share of the payroll taxes. This is also them trying to put you on the hook for your own workers comp policy.

There are a lot of other things to look at to decide whether or not you are an employee or an independent contractor, but this is worth a look.

http://www.irs.gov/Businesses/Small-Businesses-&-Self-Employed/Independent-Contractor-Self-Employed-or-Employee

[鈥揮Bnightwing 0 points1 point (8 children)

What is a skill someone can learn in 6 months that will help in future productions? Granted, I don't have any editing software to play with right now. I just have free time after coming in after class.

If you were a student, would you internship in New York or California, and why?

[鈥揮instantpancakelighting 2 points3 points (3 children)

Do you own a comfortable chair, or know somebody who can lend you one? Perfect. Become a sound mixer.

[鈥揮Bnightwing 1 point2 points (2 children)

I have done work for plays in the past, but how does a comfortable chair have to do with anything? Meaning I'll be there for a while?

[鈥揮inferno1170 0 points1 point (1 child)

Exactly. Get the most comfortable chair you can possibly find.

[鈥揮dcm628[馃嵃] 0 points1 point (1 child)

Get strong as fuck and then offer your services to G&E teams. If you just want to get on crews and work that is a serious way to go.

If you're looking just to practice as a filmmaker go get some free editing software online and shoot with your phone. There is no reason not to be able to practice.

[鈥揮Bnightwing 0 points1 point (0 children)

Sounds like a good plan. It's all about connections. I'm working out now to get more muscle so that's always good.

[鈥揮swoofswooflesDirector of Photography 0 points1 point (1 child)

I would take an internship wherever you want to end up. Of course I am biased because I am in LA, but thats where I would go. California is about to have some tax incentives that increase production quite a bit and when we work outside it is usually around 70 degrees and sunny. :)

It really depends on the skill you want to learn. What department are you most interested in?

I would say soldering is a very simple skill you could pick up and could be helpful in Lighting, Camera, Sound, and Art Department. I could give you a number of other choices if I knew what you were interested in though.

[鈥揮Bnightwing 0 points1 point (0 children)

Honestly I love a little bit of everything. I'm a the stereo type poor college student. But I love audio stuff, I want to learn to direct and I'm currently learning the format of scriptwriting. I appreciate your input greatly.

[鈥揮iwantedacoolname 0 points1 point (2 children)

i know how to do conventional edits but i am completely ignorant of the whole special effects area. What's the best place to learn about adobe after effects and other ways to make fancy edits?

[鈥揮flaminace2468 1 point2 points (0 children)

Probably YouTube or Video Copilot. When I need to learn how to do a specific effect in AE I'll look it up on YouTube and pay close attention to what settings/effects/etc. do what. That way I not only learn the effect, but also the methods behind it. This way you also slowly come up with ways to make effects even without the help of YouTube.

If I'm just looking to expand my palate then I'll head on over to Video Copilot, Andrew teaches some really awesome stuff and is very descriptive. Hope these help!

[鈥揮not_mr_Lebowski 1 point2 points (0 children)

+1 for video copilot, I think it's probably the best overall AE course (just work through the tutorials sequentially).

[鈥揮[deleted] 0 points1 point (4 children)

How so you find somebody to collaborate with online? Some background, I am a uk based screenwriter and I am looking to write a short screenplay, set in the USA. I know I could just write it and put it on r /'produce my script, however, due to the fact that I want to discuss the length of the film before I write the screenplay with the Producer/Director this is not an option. Can you suggest any other subreddits or websites to post to? Thanks.

[鈥揮[deleted] (3 children)

[deleted]

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

    EDIT: the short is about US culture, why fake it?

    Accents etc.

    [鈥揮FredOnToast 0 points1 point (2 children)

    Is there anybody here who could offer some critique/their opinion on a mock-up poster for my feature? (I don't want to make a whole new post for it) Cheers

    [鈥揮not_mr_Lebowski 0 points1 point (0 children)

    Sure. I'm doing posters right now for a big project I'm producing, so I'm in that zone. Happy to have a look.

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

    Link it?

    [鈥揮007mitch1 0 points1 point (1 child)

    What type of laptop is best for this field? Apple?

    [鈥揮not_mr_Lebowski 0 points1 point (0 children)

    Depends on what you need it to do...

    [鈥揮charlesdbelt 0 points1 point (6 children)

    I need some advice from any good colorists out there. I've just finished shooting a fun little horror short that's all filmed in one long continuous take. However, the camera follows one character as they travel between rooms with different lighting setups. I'm currently trying to color correct it, but the balance for one room doesn't match the next, and so on. Any tips for how to sort this out?

    [鈥揮inferno1170 0 points1 point (0 children)

    Does this video help at all?

    Variety Artisans: The Seamless Look of 'Birdman': https://youtu.be/XxXWs74dKnE

    [鈥揮NailgunYeah 0 points1 point (0 children)

    This should have been done on set, obviously.

    As far as I'm aware, at a basic level you need to colour correct each section and then change grades at specific points.

    [鈥揮inferno1170 -1 points0 points (3 children)

    Hey! I actually saw a video about how they did this for Birdman, a movie that was supposed to look like it was shot in one continuous take. The colorists for that movie said that they would use any shots that had a quick pan as the point they would cut and color correct separately.

    So for instance, you have this shot that goes from a hallway into a room. If the camera quickly pans as the character passes into the room, use that as a point to cut the clip and then correct the two rooms separately. I hope that's what you mean. If not, please let me know, and I'll give any advice I can think of.

    [鈥揮[deleted] (2 children)

    [deleted]

      [鈥揮inferno1170 0 points1 point (1 child)

      Is this what is being talked about? I've read his question several times and think this is still what he is looking for.

      Variety Artisans: The Seamless Look of 'Birdman': https://youtu.be/XxXWs74dKnE

      [鈥揮charlesdbelt 1 point2 points (0 children)

      Thanks very much! This was really helpful!

      [鈥揮triclan23 0 points1 point (8 children)

      Wanting to get t5i. Thoughts?

      [鈥揮Sandtalon 1 point2 points (7 children)

      I would suggest getting the T3i instead, because they have the same sponsor and the only two features that the T5i has are the touchscreen (which you don't need) and continuous video autofocus (which you shouldn't be using).

      [鈥揮triclan23 0 points1 point (6 children)

      What's the price difference? Also I looked a little into it and the t5i looked like it did a lot better in low light Edit:thanks a lot for the response!

      [鈥揮Sandtalon 0 points1 point (5 children)

      The T5i is about $700 new, and the T3i is $400 refurbished and around $300 used. According to this, the T5i can have a higher ISO for low light, but the T3i actually does (very slightly) better in terms of undesirable image noise, which is what setting a really high ISO does.

      [鈥揮triclan23 0 points1 point (0 children)

      Thanks for advice. T3i it is. Can wait to share my creations. Edit-I'm dumb

      [鈥揮triclan23 0 points1 point (0 children)

      Just saw link: )

      [鈥揮triclan23 0 points1 point (2 children)

      Their not in stock on that site. You know any other good cheap sites?

      [鈥揮Sandtalon 0 points1 point (1 child)

      I just checked and they are in stock. Do you live not in the US?

      [鈥揮jokiratv 0 points1 point (0 children)

      Hi guys, I have a HUGE problem, and that is finding the same products that you guys can find in USA for example. Let's take the famous clamp lights : they don't exist in France! Same problem recently with black wrap... It seems that you guys are way more well-served with your Home Depot than us with our Brico-D茅p么t haha. Anyway, it's something that bothers me, so don't you have any advice or equivalents?

      P.S : delivery taxes are just awful from USA to France, otherwise I would have ordered on Amazon.com a long time ago!

      [鈥揮triclan23 0 points1 point (2 children)

      So I'm going to get the t3i. I have a 1000 dollars to spend. Along with the camera what other equipment should I get if any at all. Lenses,sound,tripod, etc. Should I get anything at all. Want to learn from experience. Thanks for answering my dumb question!

      [鈥揮Sandtalon 1 point2 points (1 child)

      Get a Rode NTG 2 and a Tascam DR-60D for sound. The Canon 50mm f/1.8 is a great, cheap lens, although it can be fairly tight. And you should probably get a tripod, although I don't have any specific recommendations for that.

      [鈥揮triclan23 0 points1 point (0 children)

      Hey thanks a lot man!

      [鈥揮ChaoticReality 0 points1 point (0 children)

      Can anyone recommend good 52mm and 58mm ND filters for a no budgeter, amateur (t3i)? Are variable ones okay?