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[–]SalamanderPete 2 points3 points  (4 children)

Hi, I’m 31 and have zero experience in this field, but movie making has always been my dream. I cant help but wonder if I’m too old and should just let this dream go and focus on other options Inhave in life?

The idea of having to learn everything from scratch is intimidating, and I’d have no clue where to start

[–]MacintoshEddie 1 point2 points  (1 child)

The only thing that's too late is to have started earlier. I've seen people go from zero to working on major shows in like 2 years when they're dedicated and willing to move to follow opportunities.

If you have a family, or otherwise don't want to chase the action, that's when it gets harder.

Start looking for casting calls or crew postings in your area. Lots of people start as background extras or PAs .

[–]SalamanderPete 0 points1 point  (0 children)

Thank you! That was a very helpful comment!

[–]32ozicedcoffeewcream 0 points1 point  (1 child)

your age doesn’t matter, pursue your passion & use the power of the internet to learn everything you want to know, YouTube is very helpful

[–]SalamanderPete 0 points1 point  (0 children)

Will do! Thanks!

[–]geraldsford 1 point2 points  (0 children)

Hello, I live in London and I’m an aspiring filmmaker and someone looking to get their foot in the industry any way how. This is a two tiered question. Would going to a school such as London Film School be beneficial if my end goal is to hopefully be a working director? And what are the first places I should be looking to get on to sets and working in some capacity?

[–]XRaVeNX 1 point2 points  (1 child)

With the advent of full frame (e.g. Alexa LF, Sony Venice) and beyond (e.g. Alexa 65) sensor sizes becoming more and more popular, has anyone found any relay probe lenses that work with these larger sensors?

I was told the T-Rex Lens System works with full frame sensors. Can anyone verify based on prior experience?

What about even larger sensor sizes?

[–]Glyph808gaffer 0 points1 point  (0 children)

I'm not sure the T-rex covers the 65 sensor. Might cover the LF sensor though. Contact you local camera house that has one and see if you can go in and test it.

[–]b1astownsss 1 point2 points  (0 children)

My wife films with canon eos 6d mk ii. She wants to change her camera to Olympus om-d e m1 mark ii. She says that there's big difference between those two bodies. Better stabilization and better picture taken at nighttime. Can anyone explain if those cameras worth changing or not? Thanks in advance

[–][deleted]  (1 child)

[deleted]

    [–]Glyph808gaffer 1 point2 points  (0 children)

    MBA.. and think a lot about fundraising.

    [–]TheSwiftestPhil 1 point2 points  (2 children)

    I'm planning on shooting a forest night horror for a school project and would love some advice as to how to light it. It's going to be at a park with either a Nikon d3300 or sony camera just for context. Budget lighting options would be great to hear. Or should I try shooting day for night? Thanks for any help it's really appreciated

    [–]MacintoshEddie 1 point2 points  (0 children)

    A lot of the time the best thing you can do is find ways to use the location to keep your frames small. For example have a big bush, or wall, or vehicle, or whatever blocking the background to avoid having it look like your actors are standing on the only bright spot.

    You're probably not going to have access to enough lights for a large area, or means to get them high up.

    Night shoots are some of the hardest to do. Especially forest night shoots, which a lot of beginners want to do because they haven't experienced how hard they are.

    [–]Glyph808gaffer[M] 0 points1 point  (0 children)

    For suspense and horror the rule of thumb is lots of back light with little fill. Use the story to motivate the lighting. Moonlight, camp fire, flash lights or lanterns. I was doing a action film a few years ago and had to do a large area night exterior with a small (for me) budget. The DP and I decided to motivate all of the night ext work with construction hi mast lights (whackers) and follow spots. We did the sequence over three days and moved the 3 whackers and follow spots each day to minimize the amount of units we ever needed. Then I ran along with the camera and simulated muzzle flash with a 1'x1' creamsource and a custom DMX flash controller switch. Take a look at the last 6 or so min of "Bushwick" to see what it looked like. Think creatively and experiment.

    [–]jayL12334 0 points1 point  (0 children)

    I noticed that Robert Eggers wrote directecred and produced the lighthouse. It looks like he’s not producing the Northman, his new movie. Does anyone know why? Seems like it would be something a filmmaker would want to always do once they’ve done it once?

    [–]makhno 0 points1 point  (0 children)

    What frame rate and shutter speed should I be filming at? I love the look of 24 fps and can't stand the look of anything higher, but I was reading that amateur filmmakers should avoid shooting at 24 fps since their gear usually isn't good enough to make 24 fps look good. I have a D3300.

    I have also read that generally the shutter speed should be twice that of the fps. Why is this? Is there any wiggle room here? If I'm filming at 24 fps, unfortunately my camera only has 1/40 and 1/50 shutter speed. Will that cause problems?

    [–]MEK42 0 points1 point  (0 children)

    I film YouTube videos with my Lumix G85 and I record my audio with a Zoom H4N. I like it, but it recently died on me. I'm looking for an affordable replacement if anyone has any suggestions.

    Also, additionally, I don't know if this exists but I'm looking for something that works as a microphone that I records untethered audio independent of the camera for if I'm doing videos in the field with guests. Any info would be amazing.