Drew
Forum Replies Created
-
Yes and Yes. It’s sooooo very important to know exactly the audience you “intend” to sell to. What age group/grade level etc. Once you begin the production phase – make sure your prepro is 100% spot on – and in conjunction with your conceptual prepro you have a great chance at success.
What I experienced was an idea – edutainment – but no full understanding of the market intended to view it. So we spent valuable time in development – we shot portions of the same footage multiple times – as the EP’s constantly changed for a better buisiness model. Our pre-pro in the produciton phase was marginal, at first, but soon was soooo efficient our agility allowed us to overcome the struggles of project development hell. NOW it’s good to go. Product is created and generated and out the door in no time. There’s a very clear market and delivery system for said market.
Good luck!
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
You could always find some old rights free footage and do a montage of various bike crashes – in my head I see ones from the early days of film – the real slapstick/physical comedy type stuff. If it’s not a comedy – then I wouldn’t really worry about showing the crash as much as eluding to it.
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
Well said Bill. Judgement is key.
There are many professionals that are simply intemidated by the “amateur”. It might be the younglings raw talent – simply their pre-burnedbyahorrificclient passion. For some reason many seasoned guys attack the new players. I was told once by an old school Gaffer, that to truly be the best – you must be willing to teach. Not just part. Not just half, but everything you know. This had a profound effect on me. I have no issue showing every trick, tool, process if someone is willing to learn – at the same time – I am constantly “re-inspired” by their uncurdled passion.
What any of us hate – is the guy who undercuts the market. It was mentioned earlier – about fast food prices for gourmet food. I see tons of “What should my rate be” asked on forums. I applaud the question – but how do we answer that? A seasoned guy who has excellent long formed skills can get away with $15,000 – as he’s been in the business to sell himself at that level. His confidence is up – how can we work to sell this idea to everyone? Charge what you think is fair. It is the only way. Sure a seasoned guy might lose a job to a green team, but everyone of us started at 0 and earned our way up.
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
One idea i’ve personally seen work is release some “sections” as a podcast. Then market the entire DVD at the end of said podcast. I worked with a company for 3 years and that is all we did. I beg of you please please please be well prepared. Pre-pro is sooooo very crucial and will ultimately make you the most profit. The more you plan up front – the less you lose on the back.
Their website (for benchmarking purposes) is
https://www.cassiopeiaproject.orgMal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
Watch Evil Dead. Sam Raimi has some very inventive ways to dealing with the “no budget” fx. Play lower angles with tons of sky so you can adjust accordingly.
Or go Hitchcock and view “The Birds”. Specifically the sequence prior to the explosion [I believe it’s midway through]. He used some jump cuts to sell it – plus you’d have a great story to tell when you’re finished.
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
What happened…link is nogo.
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
I’d suggest finding a stand in and have them work during your blocking sessions.
Block (Stand in starts work here)
Light
Rehearse(Stand in is released here, as talent will be in scene)
ShootHaving one for DP will also allow him the luxury of getting light as “right” as possible, especially if you’re following any sort of beauty scheme.
Cheers!
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
I wouldn’t hang it as much as I would consider tilting it downward. To mount there are a variety of options in terms of using a high hat and head. You can also cheaply build a “high hat esque platform” with small lumber.
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
I have no degree in cinematography but I shoot both 35 and HD. I worked my arse off as both grip and juicer until I was close enough to the DP to hawk his every move. That said I still enjoy learning – be it on set, in a classroom, or reading online. I don’t think a video can truly teach you how to find composition, but it can inspire your ideas. I would suggest doing a search for lighting elements first. Once you can light well you can focus on comp. The most important part about cinematography, is the teamwork. It’s knowing how to work with others, NO MATTER your opinion in some cases. It’s about putting the stakeholders first.
I’ve never seen these but here’s an example of some lighting videos:
https://www.poweroflighting.com/videos.htmlMal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely
-
“Wireless” TC boxes are just sync generators that you jam from a primary source then attach the clockit box to the TC In. One way would be to get a clockit box and convert the one audio channel to ingest TC as a series of blips. I have not personally done this, but in a pinch it seems reasonable enough.
I swore I thought I saw a box that would convert TC to FW or vice-versa…
Mal: If anyone gets nosy, just, you know… shoot ’em.
Zoe: Shoot ’em?
Mal: Politely