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Not at all. Many first-time (and not just first-time!) Directors aren't as adept at the 'technical storytelling' and lean heavily on their Cinematographer for that kind of stuff. Others are more experienced and therefore take a bit more control. A background in editing would be great for a...

If gesturing to the slide isn't vital to the story, I'd remove it.

I'd say blocking of the actors is separate to position of camera and shot selection. Blocking of actors is definitely the domain of the Director (with perhaps a little input from the Cinematographer if absolutely necessary as you outlined in your next post). Blocking of actors - yeah. Ideally...

There's also a free version of Media Composer, but as with Resolve and Lightworks - might be a bit complicated (depending on technical skill). I always thought Pinnacle Studio was a nice beginner's piece of software that still had powerful features, but might be out of the price range.

I think for a lot of us, movies are our life and so it's constant - you're either working on something (for way too many hours per day) or you're not and you're watching film, watching television (or SVOD), researching, chatting on forums, trying different things etc. I don't know that I ever...

Not being a professional location sound guy myself, I would imagine that an unbalanced 3.5mm cable would introduce more noise in general, and XLR will always allow for longer cable runs - and the realities of shooting mean that often even when you're 100% sure you won't need the extra length by...

Sorry, I should add - with a well-choreographed scene and an experienced camera man :cool:

With a well choreographed scene, there's no real reason you couldn't get this or something very close to it practically/in-camera. Of course, you could also go down the post route.

I’ve had SxS cards, XQD, CFast and RED Mags play up on me in the past - it’s not just limited to the cheapies. You have to decommission them for at least the day, if not the whole shoot. That’s why camera kits always come with 7-10 cards.

It's more about having an understanding of whose scene it is. Who has the power and what do they want from the scene? Without a 'pov' there's no dramatic tension, and you've lost your audience. Whose scene is it? What do they want? How do they get it/not get it?

Woo! Melbourne represent!

Be prepared, open and willing to compromise, and compromise hard. Especially if your budget isn't anything flash. Also, ego goes out the door when you're making a film. It's one big collaboration and if everyone is pulling in different directions, it's going to be a bad time. Be open to ideas...

Nice Scoopic. Do you have any footage so we can see how it sells in the cut?

Is there a specific context? It’s a tricky one if not. Your example for peace of mind is to me more of an example of ‘peace’ or ‘peaceful’ which is a bit different to peace of mind...

Of course. I'm not suggesting having little distance between your green screen and subject. Lighting to match your background plate is extremely important to getting your key to sell. Lighting your screen is extremely important to getting a good key. Creating distance and using light modifiers...

Dry-hires can be a great little income earner - just make sure you've got your insurance sorted.

Few things: -This is a public forum, so all information I give out is to help others, not just you - and I hope any who might consider starting a production house does actually look into all the things I've mentioned as they will stand you in good stead for starting and running a business in...

Sure you do. That's part of starting and running a business. You have to be across who your competition is and what kind of work is out there always. Running a business isn't just about getting to do the 'fun stuff'. There's a whole host of 'boring stuff' to do - like research. Even as a...

... which is mostly helped by lighting and lighting modifiers (as well as distance, but there are few studios where you’d be able to get far enough away from the green screen to be able to shoot full coverage and have no spill). Nuke and Flame are both great pieces of software and some may...

Unless you’re shooting 2-perf, 3-perf, or anamorphic - if you shoot 35mm you’re shooting 4:3 and framing for whatever aspect ratio you’re after.