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Interesting twist, crossing it with The Hobbit. ...that WAS Thorin Oakenshield at 1:08, right?

Nope, not Hugo...

I'm a huge fan of the card method. In my experience it's one of the best methods for creating a reasonable "roadmap" which your story can follow. You'd be surprised how easy it is to sit down to write a story that you haven't properly blocked out to realize that certain areas are either...

Also, check out lights with individually controllable banks as a decent way to control your output. Kino-Flo is a good but pricey example. On 'Wyatt' we've been using Interfit Supercool lights with decent results. (Go to this thread for examples)

I'm surprised I hadn't noticed this thread before, it seems like a lot of fun! Full disclosure: there is a very mild crop on this one because the movie title was watermarked on it. It shouldn't affect the difficulty, however. Popped in my head when I saw this game. Not sure why...

I don't think I could possibly disagree more. I'd actually rate this as one of the least important parts of a production. All this is absolutely auxiliary to having a great story, and knowing how to tell is well. Sure, a solid camera and lens selection can be a great tool for telling a...

...vids or it didn't happen?

Firstly, +2 Jax for the phenomenal posts. The thing is, everything being completely in focus with a gigantic depth of field is often considered a hallmark of video. Even as recently as a few years back, before the huge HD and Big Chip pushes, video tended to use really small photo-sensors and...

Motivation is the key. In the edit, your goal is to show the audience what they need to be seeing to further the story of the movie. In each shot, is the speaking more important, or is the reaction. Use your decision to guide what you're showing the audience. There is no magic formula of how...

Here's a couple frames from day 2. They're a bit noisy from the compression, but you still get the idea. http://i.imgur.com/1b03r.jpg http://i.imgur.com/3wyTQ.jpg One more day of shooting to go and we can wrap this thing!

It's all about what you can negotiate. If he wants the same box rate, then try to negotiate the same cost box fees, but half the labor, see if that gets you anywhere.

On set, make sure your 2nd AD and a few PAs are in constant control of the crowd. You should be as focused as possible on the shoot itself, crowd control can't be your primary concern. As far as communication, set up an e-mail group, or a twitter account for everyone to follow, or a mass-text...

We can parse the numbers to get as specific as we want, we're still bringing up the same point. I'm not anti-RED, I'm a realist. RED can give you incredible results, but its costs extend far beyond the camera body. For a small video shop, the only real viable way to justify getting one RED is...

+1 And that's just with a few lenses, maybe a couple bricks, and one or two of their flash storage units. Beyond that you'd need to make sure that your post-production equipment can handle the RedRAW 4k footage, which would pretty much require an investment into a decent Quadro card, possibly...

Make sure they don't overact it, though. Many starting actors kick up at the elbow when they pretend to fire a handgun, which is pretty easily seen as fake unless they're using a MASSIVE handgun; have them bounce between 30 and 45 degrees at the wrist to simulate it correctly. With rifles, just...

Not a bad job, especially on the wide, though I would add a slight blur (maybe .3 pixels approximately?), and bring up the blacks a bit to really seal the deal on it. The lighting on the close wasn't bad either; where you ran into trouble more than anything else was with the background. None of...

I use Movie Magic Screenwriter myself. However, I'd rather direct a skillfully composed story written in crayon on napkins than some mediocre drivel written in the most advanced and comprehensive software on the market, so I'm not sure why it matters.

- "Fatty" editing. (Your edit should be a George Foreman Grill, people! Cut the fat!) - Two entirely different sounding room tones in the same scene when cutting between shots. (No, "but the AC turned on" is not an excuse. Fix it!)

I like the concept that you're putting out here. A couple of suggestions: 1) More focus on sound design. The audio wound up feeling noisy and distracting. That's going to have a sizable impact on how everything else in the short is viewed. 2) The edit seemed a bit clunky. You could probably...

Do you by any chance have an approximate pricing list?