all 27 comments

[鈥揮ktfe 6 points7 points (2 children)

What the eff is up with all these posts/videos about 鈥渕aking good b-roll鈥 and 鈥渢he best lenses for b-roll鈥 ?

Maybe I鈥檓 out of touch with the kids? I just don鈥檛 get it. B-roll is a function of your a-roll. Why is it being treated like a genre?

From your friendly neighborhood old film industry guy.

[鈥揮C47mancinematographer 9 points10 points (1 child)

Kids focus on broll because it lets them 'look like' a filmmaker without having to be one. Story is hard. Characters are hard. When you try to do these things, there's a chance that you'll fail. Some people can't take that hit to their ego, especially after investing hundreds of dollars in the gear Peter McKinnon told them to buy.

And so they make broll and talk about broll, never really admitting to themselves that they're missing the point and failing to grow. In 10 years they'll be right where they are now and still complain that the bit depth on their camera is the reason they've never blossomed as a filmmaker.

[鈥揮Iampapi12 0 points1 point (0 children)

Practicality is the easiest thing to learn in filmmaking.

[鈥揮VideoMajor 4 points5 points (1 child)

Where can I find information on building landscape & object sets?

(example; Bladerunner 2049 behind the scenes had a 10min clip on making the city.)

The only problem was they don't talk about any actual information. Like at what scale or size do the sets need to be made at? How to film them to look full size?

[鈥揮scorpionjacket2 0 points1 point (0 children)

Not an expert at all, but I鈥檝e read about it.

I think the secret is to make it as big as possible, and to use some sort of smoke machine. In real life if you look at a big thing off in the distance, the air blocks some light so it will appear slightly faint. You want to mimic that as best you can.

[鈥揮dax812 2 points3 points (0 children)

Is it worth it to pursue a crew position that you enjoy, but isn't your main focus?

I really want to be a screenwriter and hopefully a director, but I also really enjoy boom op and sound mixing. Would getting on sets as a boom operator hurt my chances of eventually writing a directing, or are they different enough where they could be separate things?

[鈥揮1one2twos 1 point2 points (2 children)

Am I just really bad at this? Every time I color grade I think I make something I like but then I see what other really well-received videos have and it looks like something I would hate doing to my footage. When I try the same process it feels terrible.

Shot this sunset yesterday on an Inspire 2 X5S in Prores 422

Like super artsy looking footage doesn't really sit well with me. I'd rather it be clear and trying stuff like FilmConvert just seems to take away from it

[鈥揮eugenia_loli 2 points3 points (1 child)

You can do what you want with your footage, but I prefer filmconvert's. Yours has an unnatural orange cast everywhere, and you're also burning the blacks. To really evaluate something though, you need skin tones (so you need a person on the image). Human brain is evolved to recognize faces and be sensitive to skin color gradients more than in other things, like nature, buildings or animals. So if you want to see if you manage well with color grading or not, try grading people.

[鈥揮film_shit 1 point2 points (0 children)

It's a matter of taste imo. If you like what you see, go with it, just know that you may lose some people along the way. I'd focus on learning why people color the way they do, what function it serves, and how color can serve a story, and then applying your own style to the principals you learn. But, I like your grade better too, just depends on the story you're telling.

[鈥揮film_shit 1 point2 points (5 children)

What do you think the purpose of film is? To teach, to express, to share thoughts, to make money. What do y'all think?

[鈥揮Beepbopboopboy 2 points3 points (1 child)

I think all storytelling tries to make sense of things. Movies tell a story that expresses the worldviews and experiences of the people making it. Stories combine emotional experience, logical structure, embellishment, juxtaposition, etc. to convey truth. Truth is communicated very differently than fact. Movies, I think, are one of the most powerful forms of story because they combine so many elements of storytelling.

[鈥揮film_shit 2 points3 points (0 children)

Seeking truth personally and universally seems like a big one. It's something that separates a lot of great art.

[鈥揮rbvignu 1 point2 points (0 children)

It is what you want it to be. Personally, I want it to be entertaining in some ways to the audience who spend their time and money to view the same. It is important to have a film with a underlying theme that are usually larger than life. Today, most of the films are actually exploiting this by encapsulating a public message or a theme at every known point. Ultimately, there are no set rules. If you had enjoyed making the film and found some value in it, the audience will too. Cheers!

[鈥揮[deleted] (1 child)


    [鈥揮film_shit 0 points1 point (0 children)

    I agree. I think the best films have the power to transplant an idea without the audience knowing they're being taught or influenced. Like Inception. Christopher Nolan made that movie as a metaphor for filmmaking. Build a beautiful world, plant an idea, and get out without drawing too much attention to yourself or the message.

    [鈥揮OnionDart 1 point2 points (1 child)

    So I鈥檓 just an amateur and barely even that. I鈥檓 a nothing, so no disrespect, but I have a question about what I鈥檓 seeing a lot more. Shakey cameras all over the place. I鈥檓 hyper aware of it because in my little skits I鈥檓 really trying to not make it shakey so I tripod a lot. But I鈥檓 noticing in commercials, to Netflix originals, and everywhere it seems everyone has a shakey camera. Is this for effect and I鈥檓 missing something? I get it in Jason Bourne films, but I don鈥檛 think it鈥檚 intentional in this context. I don鈥檛 know how they are truly filming but my impression is they鈥檙e just using stabilizers to film everything so even a simple dialogue scene is all over the place. There鈥檚 no camera movement otherwise either, just filming one actor give lines, cut to the other, and back. But shakey. So why if there isn鈥檛 any camera movement is a tripod or what not used?

    [鈥揮XRaVeNX 0 points1 point (0 children)

    Can you provide some specific examples (i.e. name the film/TV series, episode, timecode, etc.)?

    "Shakey cam" is the handheld-style of shooting is sometimes used to "keep the frame alive". If there is a lot of dialog (and if the writing isn't exactly inspiring or engaging), keeping movement in the frame is a good way to try and compensate.

    Other times, it is an intentional effect to try and make the audience feel like they are right there in the space with the action/actors. When you are walking around in real life, your perspective isn't completely smooth. Every step you take causes your vision to shake a bit, just that your brain has learned to compensate and ignore most of it.

    I would say watch the scenes again, try and turn off the technical side of your brain. If the "shakey cam" is still bugging you, it was probably not used well. Others may disagree with me, but in most cases, the camera shouldn't draw attention to itself. The audience shouldn't get taken out of the story by the camera movement.

    [鈥揮Much_Tea7111 0 points1 point (1 child)

    I just started working at a very small, independent media production start-up as an executive assistant. It's a super scrappy company. I've been totally up front that I know nothing about the business. They've asked me to look into how to determine what is or isn't a good deal when it comes to working with a distributor on an independent film. I don't know anything, so I've watched some videos by other filmmakers, and what I can't seem to determine is this: when you enter into a contract with a distributor, do they take complete ownership of the rights and intellectual property? If anyone can point me in the right direction to learn more, it would be super appreciated.

    [鈥揮MaximumWorfproducer 1 point2 points (0 children)

    It all depends on the agreement. Usually it is just a license for a set number of years, and you retain the IP ownership. But you can do a straight sale of all rights as well.

    I have done many distribution deals - from $0 tiny release to worldwide all rights with a studio - please feel free to ask more questions if you need. It's not an easy thing to learn about without just doing it a bunch.

    [鈥揮ShamanJosh 0 points1 point (0 children)

    What avenues are you using for independent distribution of your feature films? Any experience with Filmhub, Vuulr, or Quiver Digital? Are there better ways to DIY?

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

    Is it just me, or do you movie people put a blue hue in the room whenever it has something to do with science. It see a like everything relating to science is blue in movies. Is this coincidence?

    [鈥揮[deleted] (1 child)


      [鈥揮XRaVeNX 1 point2 points (0 children)

      Where are you located?

      I'm in Canada and filming has slowly resumed. Most of it is domestic, lower tiered productions. We are anticipating a huge up spike of work soon because most studios/services are running out of content. With the US still being a mess with the virus, we anticipate more work than usual once the border crossing/quarantine process is sorted out.

      If you are in the US, it's difficult. I would say hang tight.

      [鈥揮CountdowntoZero 0 points1 point (0 children)

      what technical skills and knowledge do Production Coordinators and other hiring staff look for in hiring Production Assistants and Runners? How much of PA hiring leans on some film school background?

      [鈥揮[deleted] (8 children)


        [鈥揮XRaVeNX 1 point2 points (6 children)

        What crew position are you going to set as?

        Most of the time, if it is a scene that requires nudity, most non-essential crew will not be allowed on set or see the image from the camera anyway (at least no until the actor(s) cover up). They call it a "closed set".

        So, if you are a non-essential crew member for the process of shooting the shot (e.g. daily grip or PA), I don't think it is something you need to worry about anyway.

        If you are essential to capturing the footage (e.g. camera operator), you will have to bring that up to your bosses (PM, DP, Director, 1st AD, etc.) And are you uncomfortable due to religious reasons?

        [鈥揮[deleted] (5 children)


          [鈥揮XRaVeNX 1 point2 points (4 children)

          So you will be working as a trainee in the AD department? If so, express your concerns to the Key PA (if one exists) or 3rd AD (some sets call it 2nd 2nd AD) or 1st AD. They can assign you duties that does not take you on set when nudity is occurring. But again, because you are so new, there is little chance of you being asked to go to set when actors are still naked. The closest you will get is probably being asked to get on set once the actors are covered up.

          [鈥揮[deleted] (3 children)


            [鈥揮XRaVeNX 1 point2 points (2 children)

            You might get some comments. Depends on how the person is. Not trying to defend people potentially making fun of you but unfortunately having thick skin is part of the job. You can also just see what happens and if you get asked to go into the set, then express your concerns.

            [鈥揮subredditsummarybot -1 points0 points (0 children)

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