Recent content by Beeblebrox

I make movies and TV shows as an editor, DP, and VFX artist.

Sync first.

I have a BA from UCF in film and animation. It's been awhile since I've been there and a lot changed right after I left, so I can only speak to my experience. The biggest advantage of UCF over FSU (I went to the film school there for a year) is that you get to make films more or less on your...

I think it's interesting that NBC can show this footage no problem but Janet Jackson's tit gets CBS fined $550K.

I've used Litepanels. They're great. Low power consumption and dimmable, fairly light weight. I used them for some interview/documentary shooting hot-shoed to a DVX-100. No complaints.

One of the main reasons to do it with the 7D/5D is to keep your aperture wide AND your shutter at 1/50. This allows you to maintain the DOF in bright sunlight while controlling your exposure as well. With the HV30, you're basically only going to be dealing with keeping the shutter speed more...

Sounds awesome.

The thing that jumps out at me right away is the shutter speed. The lack of controls means that shooting daylight becomes problematic when the shutter has to ratchet up to compensate. I'm wondering if this can be overcome in some way with some screw-on ND filters. You might give that a try...

You can ask for anything you want. You may not always get it. I personally would not be okay with an editor trying to get a director credit when they only became involved in post, but that's just me. I would simply hire a different editor. I have literally never worked on a project without...

I'm pretty sure that's not what he was saying. I think he was saying that physically shooting the footage does not necessarily make one the director.

As another real world example, I'm currently negotiating on a feature doc as both the shooter, editor, and title designer. I will likely NOT be the director, however. Because ultimately, it's not my movie. I'm the hired gun, and I'm fine with that.

Here's the big difference between you and the director, and this applies to your hypothetical as well. You're not the final creative voice. The director is. Whether you do all of the cutting or have him standing over your shoulder, if you go to HIM for his stamp of approval, then he's the...

There is nothing you've described so far that convinces me that you are anything other than the editor. Again, on a documentary, the editor is a huge contributor to the film. Even in narrative features, editors often create storylines from scratch or found footage or change things beyond the...

My take: An editor that contributes heavily to the creative process of turning the footage into a film is called the EDITOR. That's what an editor does, especially on a doc. It does not elevate you to the position of director, especially when you're still ultimately answering to the person...

I'm going to come at this from a different angle and say that a lack of attention might not be the problem. I myself bought a script from Inktip. It's a pretty good resource for writers trying to hook up with indie producers. You say that your loglines/treatments are getting read and that a...