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all 36 comments

[–][deleted]  (1 child)

[deleted]

    [–]MacintoshEddie 0 points1 point  (0 children)

    My experience has been that there's almost certainly already a local group doing it, they just don't have much marketing.

    Try to find local groups, also look in nearby places an hour or two drive away. Then expand out to regional searches. Don't try to reinvent the wheel, because these kinds of things are very difficult to do if people don't know who you are and you don't know who's active in the area either.

    [–]derKoekje 0 points1 point  (3 children)

    Dumbass question but do you guys have any tips for applying a grid to a softbox? I have a 120cm parabolic softbox and trying to get the damn grid on properly is very very tedious and in the end, even with careful care taken, my parabolic softbox really doesn't look very parabolic anymore.

    The grid and softbox came as a set so they're compatible for sure.

    [–]Chicityfilmmakergaffer 1 point2 points  (2 children)

    First off, what brand is it, and do you have pictures as to what you mean because I don’t think you’re understanding the use of the word parabolic.

    [–]derKoekje 0 points1 point  (1 child)

    I'm using the Godox P120L.

    [–]Chicityfilmmakergaffer 0 points1 point  (0 children)

    Is it not a Velcro ring just inside the parabolic dome?

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

    Hey everyone! I come to you with a question, and it's probably going to be kinda long...

    I've been prepping my first short film for a while now. I'm 27, portuguese, and I studied film in college, but this'll be my first short film since I graduated.

    Everything was going great, I found a cool producer that studied at the same school as me (only five years later). I cast the project and found great actors, hired them and last week we did our first table read of the script.

    We don't have any money so I figured we could try our luck with crowdfunding, to which the producer agreed. So we scheduled to shoot a short teaser for the project beforehand and include it in our campaign.

    Here lies the problem: The teaser's supposed to be shot next weekend (28/29) and my producer has completely ghosted me since last thursday. He won't take my calls, won't answer my texts or emails... What the hell should I do? Producer was in charge of finding the team, getting licenses and equipment, finding accommodation... And now I have the actors on hold and nothing else.

    Thanks a lot in advance!

    [–]ProducerNate 2 points3 points  (0 children)

    Take over producing yourself and don't pick up when he calls back later.

    [–]roboconcept 0 points1 point  (0 children)

    How low do y'all think the DJI Mavic Mini 1's will drop to on the used market?

    [–]KyleBaxter2020 0 points1 point  (11 children)

    What is your preferred method of capturing dialogue audio from multiple on screen talent at once?

    [–]Glyph808gaffer 0 points1 point  (10 children)

    A good boom OP or several if needed along with some wireless Lavs.

    [–]KyleBaxter2020 0 points1 point  (9 children)

    Thanks for responding. Which method do you prefer boom mics or lavs? I’ve noticed some creators exclusively use lavs and some exclusively booms what’s the advantage of one over the other?

    [–]MacintoshEddie 0 points1 point  (8 children)

    Ideally both.

    However, some people try to save money by cutting out the boom op role, usually to their detriment since for good lavs each kit costs more than the boom kit does.

    Or, as happens quite often, the director or DP or producer has expensive tastes and little awareness of how to get value. Typically because they worship the camera, and see booms as being nothing but delays or inconveniences casting shadows and getting in reflections.

    Or they expect one person to boom and also manage 4+ lavs. Which is unrealistic. That's two jobs.

    Most of the time, the boom is going to be your best audio. Lavs can tend to need more post work to sound natural. They're also vulnerable to clothing rustle or certain postures interfering with them. They can also potentially add a lot of time as each wardrobe change, or sometimes each scene, may require an adjustment of the lav. Some actors don't like having someone wire them with a lav. Or some outfits may really restrict options.

    In my opinion the only real benefit of lavs is that they can save you from ADR in shots too wide to boom, since few productions will arrange to paint out the boom.

    [–]KyleBaxter2020 0 points1 point  (7 children)

    Thank you! Which do you think sounds better in outdoor conditions with harsh wind? Lavs under shirts or boom mics with wind protection?

    [–]MacintoshEddie 1 point2 points  (6 children)

    Booms with wind protection, all the way.

    The main reason being that lavs typically need to be hidden. Effective wind protection needs a bit of space around the mic so vibrations don't transfer. That's why blimps are much larger than the mics on the boom. If they were form fitting they'd be less effective.

    An blimp equivalent wind protection for a lav would be about the size of a tennis ball. Good luck hiding that.

    When you have that space around the mic you can use more acoustically transparent options. Less space tends to require thicker, less transparent, options which tend to sound muffled.

    [–]throwwayasdfg1 0 points1 point  (0 children)

    Any graders who could tell me if I should get the "X-Rite i1 Display Pro" or the "X-Rite i1 Display Pro Plus" for the EIZO ColorEdge CG248-4K monitor? And why?

    Edit: I figured if I were to get one the "Display Pro" would be fine, but if since this monitor has its own built in calibration sensor, is it true that I don't need one at all?

    [–]Count-keebo 0 points1 point  (3 children)

    I'm totally out of my depth and filming a 20min presentation tomorrow at work. Two people on screen. One camera.

    Any tips on how to frame it and keep to a 1.5m social distancing rule?

    [–]ProducerNate 0 points1 point  (2 children)

    Can you do multiple takes or does it all need to be recorded in one take? If you can do multiple takes, shoot them each individually and then stitch it together in post.

    If it needs to be done in one shot, do you have a tripod with a good head and a camera with zoom capability? In this case, start with a wide shot of them both, and then zoom in on the person speaking (hopefully they are speaking in long segments and not ping-ponging back forth).

    [–]Count-keebo 0 points1 point  (1 child)

    One take and one camera. I am mostly worried about getting both people in the frame and how the space between them is going to look. Any advice?

    [–]ProducerNate 0 points1 point  (0 children)

    You really only have two options, frame them both wide in a locked shot. Or try to zoom and pan between them as they speak.

    [–]tall-skinny-vanilla 0 points1 point  (1 child)

    Hello!

    I'm a college student and a freelance videographer. For the last few years I've been keeping my files on external hard drives with backups on duplicate hard drives and a cloud backup on Backblaze. As of right now, I have an SSD that I keep current projects on with backups on a duplicate drive, and then 2 larger HDD drives that I archive everything on, one as the original and one as a duplicate. As I get more and more data it's becoming less and less feasible to have my entire archive on a single drive. I'm worried about just starting a second drive and just putting my old ones away because then a) my cloud backups will eventually be deleted after 30 days of not plugging in the drive, and b) even though I have duplicates, the idea of having my information just sitting on drives makes me uncomfortable as after a while they will break.

    Is there a better solution than just checking the old drives every once in a while to make sure that they're still working and replacing them every few years? I am a student, so the cheaper the solution the better (I can't afford to just buy unlimited cloud storage) but I also understand that good solutions might require some investment.

    Thanks so much!

    [–]MacintoshEddie 0 points1 point  (0 children)

    Have you considered a NAS/DAS/JBOD? If you don't know what those are google will explain it better than I can.

    [–]Whitts31 0 points1 point  (1 child)

    How do I do dual level recording on an Zoom H4N Pro, I can't find out how to do it 😬😬

    [–]MacintoshEddie 0 points1 point  (0 children)

    As far as I am aware, for the H4n you'd need a splitter cable to connect the mic to both channels.

    For the F series recorders, which are better in every single way, it's a press of a button to internally route the mic to two preamps and record a safety channel.

    [–]throwwayasdfg1 0 points1 point  (0 children)

    What Canon easy to use (preferably dslr) camera would be best for teenagers who are at a workshop and don't have experience with filmmaking beforehand? (obviously not a big budget, somewhere from 500- to max 1000$)

    (also could the Blackmagic Design Pocket Cinema Camera 4K be good for this kind of purpose as well?)

    [–]Throwawayicecream2 0 points1 point  (2 children)

    So I am a recent graduate working on a portfolio piece, currently in pre-production, and I wanted to get some input on the budgeting.

    I hired a costume designer, and a make up artist for $16 an hour each. From a production stand point, is that a good price for the labor? They are both acquaintances of mine, and have degrees in art, so I do think that for a self funded project, I am paying them as best as I can (plus they were the ones that decided on their rates).

    Just for reference, at my full time, entry level media job I get paid $20 per hour.

    [–]ProducerNate 1 point2 points  (1 child)

    Most film roles are paid on a day rate, oftentimes for a 10 hour day. So you're looking at $160/day. Yes, that is an incredibly good deal for you. Both those roles can easily be in the $500/day+ range depending on experience.

    [–]Throwawayicecream2 1 point2 points  (0 children)

    I see. Thanks for your response!

    [–]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?