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I had a film in the 2012 Gathering (2nd place in my category if I recall), wasn't able to attend, but the communication from these guys was good and they seem to have their sh*t together.

You'll be fine. We have fixed DSLR footage that was shot outside in bright sun and balanced Tungsten before and it was totally seamless.

What a joke. I still can't believe anybody is editing on that hunk of garbage. Well anybody not editing footage of their kid's soccer game that is, which is what X is designed for.

I think it MIGHT have been fixed by updates, but indeed. THE reason everybody ripped X to shreds when it first came out as "iMovie plus". If you can't export OMF or AAF files from an NLE it is NOT a pro grade NLE.

CAN'T spend money because you don't have it, totally understand. Don't WANT to spend money because you have some philosophical opposition to it, don't get at all.

So again, you don't pay anybody..... Your crew is all volunteers.... What do they eat.... You have NO interest in spending what it takes to get someone very skilled in their craft (be it MUA, DP, Grip, whatever) to work on your films... 70% of my budgets are the cost of paying cast and crew...

"There are plenty of directors who want to be directors, not writers" I would be one. I have written all my scripts to this point, but really want to start using writers. I have a guy working on Kohlman Files episodes. We'll see what he comes back to me with.

It's not built into your editing software.... I know it's in Premiere and I think it's even in Vegas.

Different ways to the same end, different people work different. If I have unchecked off items on my master list of "stuff" before we shoot I feel like I'm headed to a Turkish prison.

I am 180 degrees opposite. I film everything exactly as scripted with no improvisation, every line delivered exactly as written, every bit of blocking worked out before hand, every shot on the shotlist (for the most part).

Because like anything it's a combo of talent plus skill and experience. That guy who is 22 and looking at making his first film is going to need a LOT of talent to compensate for his lack of skill and experience which can only come with time and practice. Go sit down and try to draw a comic...

"Gonzo, "cutting to the bone", "screw it, it's good enough" is not how I work. You're equating low budget with lousy product. Inside the box you're in, you CAN'T see how features can be made any other way." You must have a lot of time. I do not. I am 47 years old, I have a six figure plus day...

Yes, it still stop the concentrated spot, though you may still get some glare from a shiny surface (use polarizer). Bouncing the light off a white ceiling might do basically the same thing (as a softbox).

Polarizing filter. Not sure it will totally eliminate glare that brutal, but will reduce it for sure. After an ND, the first filter everybody should buy.

How difficult/expensive a location will be is right in the front of my mind at all times when I write (to make myself).

In my experience, bare bones, cutting every corner possible, non key people working for free (PAs, assistant camera, DIT, etc...) runs about $1000 a day. That's just to feed people and pay your key crew slave wages. My DP works (for me) for about $150 a day, my Key grip (who is union) works...

I don't think so. I did go into it (this most recent one not done via withoutabox) with 3 director credits, a established credited production company, and a couple of outside credits nor from my own productions. I also, per someone else's advice, referenced the Facebook page for Kohlman Files as...

I think you have to pay even with a Pro Account. I have a Pro Account and it still costs me $35 to add a Movie poster.

Now if they'd just update that god awful, circa 1998 interface for updates.

I actually just got an IMDB for The Kohlman Files WITHOUT going through Withoutabox. First time to try (all other films got it via withoutabox) and it was approved in like 3 days. I was shocked.