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Personally, that's a no from me.

Historically, it has been, in both terms of speed and reliability. I don't really edit anymore, so I haven't kept up with the new tech (both in the computer and in the PP engine) in the last year. There were suggestions that Adobe was moving away from favoring the first four cores to all cores...

As Ray mentioned, there's are heaps of these and a huge majority of them fail. This concept could be good but the executition isn't. I believe, at a dead minimum, it needs to have professional level production value. I was an editor on a high budget, celebrity cooking and health show in exotic...

I only looked at the top build. Personally, for Premiere Pro, I go with Intel due to the higher clock speeds and less issues. I'd go with a 10700k. They're fairly cheap and good for the task. The hard drive. Go for a 7200 (or a 10000) RPM hard drive. I'd wait for the 3060ti (due out soon), or...

Personally I like them in the right circumstance, but they do have some significant drawbacks. They're BIG. Like, huge big. They're fragile. It's not quite look at them wrong and they break, but close to it. If you're in an area with lots of rf interference, the interference with them can be...

That's the nature of good deal making. Good luck with the negotiations and good luck with the package.

One last thing to say. If you're looking at a career in the industry, this could be a break, thus raising the value of the deal for you.

Only distribution guarantees distribution. Just a perspective point: The reason 10mil is nowhere land. It takes an average of $20mil to market a film for cinema (not saying each film has 20mil spent, but it used to be an average when I was on top of numbers). Who would spend that on a 10mil...

I don't think I've ever seen it written like this. It's usually written as a percentage of producers nett. It's pretty much always defined in an agreement. Some agreements have speficially how it's calculated. Basically it's gross takings less expenses. Calculating it can often appear to be...

I think I have a slightly better understanding of what you're asking now. This may not be happening on your film, but it's likely. So lets say your budget is $10mil. A typical investor will look at mitigation of risk, quite often more than potential profits. On the finance end, these tax...

It's slightly different, but the OP is from California.

My 2c. Now I don't know how traffic is going compared to how it used to be. It could be up. If that's the case, that's friggin awesome. I do remember, this site used to be "happening" when I first came here. Heaps of action posts and replies, heaps of people. There are so many places now days...

I'm not clear in what you're asking, but I'd urge you to read the contract.

Ideas: A discord server. A filmmaking meme section (I wanna laugh more... it's 2020 after all) intergration with Facebook. Buy and sell Gear section. Find a team service. A quarterly indietalk short film competition. News from the net. Resources List for new filmmakers. Membership deals with...

As a motion designer, you'd know that things need to flow together. Trying to put it in your words (I'm weak at design so I might be saying it wrong). You've put a sci-fi font on a retro image. It's a solid effort, but I don't think it's quite jelling together. A rule of thumb with music videos...

There's something called blocking. It'll probably be your best bang for your buck. While it's not technically camera work, it intimately involves the camera. Basically speaking, it's the movement of talent, props and camera in the scene. If you learn to use this skill well, you can (kind of) get...

TLDR: You don't fix boring with a new angle. A turd shot from great angles will still be a turd. Have you considered it's the material that's being shot that needs more snap, than the angle itself? When editing a scene that needs more "snap", I can't think of a time where I wished the angle...

You're kind of cherry picking from those roles. Add producer and post prod coordinator to that list ;) It might be a bit of a hard sell as those roles have particular duties for particular reasons and changing them can cause issues with large productions.

Read this book: Running The show. https://www.amazon.com/Running-Show-Essential-Assistant-Director-ebook/dp/B07XTQZ4NX That'll help you bridge from where you are to where you need to be. After that, jump on to Lynda.com and do some beginner stuff in different roles, so you can see how it all...

That depends on how high on the totem pole (value to a production) you are. Since you're a beginner, you're probably going to start lower than the runners. There's usually a large deal of time blockouts that teams need to deal with. You usually start with working out what you cannot do without...