Best products from r/WeAreTheFilmMakers

These might help, especially the first one:

• What I Really Want To Do On A Set In Hollywood
  
  
• Film Production Management 101
  
  
• The Guerilla Film Makers Handbook
  
  
• The Complete Film Production Handbook
  
  From my own personal experience:
  
  First Assistant Director
  
  
• The directors right hand, the producers left
  
  
• Breaks the script down into what is needed, props, cast, etc
  
  
• Creates the schedule from the broken down script
  
  
• Hires the 2nd AD, 2nd 2nd AD and 3rd AD if neccesary (I've only worked on sets that had a 1st and 2nd, I did work on one TV Show that had a 2nd 2nd but they were more a field producer)
  
  
• Calls for the 2nd AD to bring the talent to the set when they are needed
  
  
• Tells the rest of the crew the planned shot after the director has blocked it
  
  
• Is responsible for keeping the production on time and moving, any overtime is on their shoulders (well, them and the production manager)
  
  
• Oversee's what the 2nd AD is doing
  
  
• Quiets the set down, lets everyone know when the director is going for a take
  
  
• Calls out the rolls (Roll camera, roll sound), sometimes repeats Action from the director, and calls cut after him (but louder).. you need to be loud to be an AD
  
  
• Makes sure the director got everything he had planned, every setup and shot
  
  
• Checks to make sure the director is happy after a take, if he is he calls "Moving on" and begins motion to move everyone to the next shot. Releasing the actors to their trailers, calling the DP into a meeting with the director to plan the next shot. It's like a huddle, everyone comes in, makes a plan, breaks and then it is the AD who is responsible for making sure everything happens.. and happens quickly.
  
  2nd AD:
  
  
• Makes call sheets
  
  
• Calls talent and crew for updated call times
  
  
• Uses PA's to pass out call sheets
  
  
• Shuttles the talent from their dressing room/trailers to the set and back as needed
  
  
• Typically in charge of the set PA's
  
  Plus there's a lot of paperwork involved, filling out time sheets, crew sheets for payroll, daily breakdowns, etc.
  
  [http://en.wikipedia.org/wiki/Assistant_director](This wiki page) has a lot of good information on what the entire assistant directing team does. As well as the book that ou mentioned "The Film Director's Team" is also very valid.
  
  The hierarchy on set, if something goes wrong, is something like this:
  
  
• Producer > Production Manager (sometimes called UPM) > 1st AD and Production Coordinator > 2nd AD and Assistant Production Coordinator > PAs
  
  If you've been a non-union AD on four films, you are probably in pretty good shape. It also sounds like you might have enough days to apply to be a 2nd AD in the union, you may not need to go through the DGA Trainee program.
  
  You need 400 days worked non-union (with proof (call sheets) and pay (pay stubs) as a 1st AD to get in. Or if you have 400 days between working as a 1st AD, 2nd AD or UPM, you can apply to be a 2nd AD.
  
  Also, check out Sheli The AD on Twitter, send her a tweet and she should respond. She's really responsive and helpful and just an all around good person.
  
  Good luck, and if you are still non-union in the future drop (and based in LA) me an email to iamvirii@gmail.com. A good AD is hard to find, I've been with way too many bad ones.

The Rebel's Guide to Filmmaking is a pretty good introduction to cheap filmmaking - although more geared towards hollywood-like filmmaking.

Good tips on how to do things on the cheap though.

Mind you: if you're just getting into filmmaking you're looking at at least 3-6 years of short film/music video production, before you can even consider going into business. There is also the hassle of applying for money from different grants. This alone is just as important as your talent...And you'll probably spend lot's more than what you are going to earn. You also have to keep at it all day, every day - which means you can't have a normal job on the side... You can teach yourself anything, but a film making school might be a better alternative in terms of learning stuff fast and with the least amount of hassle: mentors, crew and equipment all available for free.

As far as the next big art movement I'm not sure what you really mean. But great leaps in art history is usually produced by accident by a small group of talented people working together. Where the next big thing in film will come from (and when) is anybody's guess: New York, Brussels, Paris, London, Tokyo, Sidney or Seoul...

Make sure this is really what you want though! Are you a good storyteller? Verbally? In my opinion most directors started out with the desire just to get the status that comes with calling themself a director. There are, however, some exceptions!

Good luck though!

The Rode video mic is great, but if you're only going to do interviews, consider getting the Rode lavalier mic. I own them both, and while a shotgun (the video mic) is great for getting directional sound, the lavalier is specifically intended for capturing somewhat localized sound, like one person talking. The Rode lavalier is actually omnidirectional, so you just might be able to capture decent sound from several people, depending on the environment.

Should you chose the Rode lavalier, don't forget to buy the appropriate "Micon" adaptor (probably either the XLR-version or the standard minijack).

You could plug the lavalier directly in to your 60D, or even better into some typer of recorder, like the Zoom H4n or H1, for better quality sound and more control over levels and such. The H4n gives you the added option of recording additional ambient sound (four channel recorder) as a backup, just in case the mic fails, while the H1 (two channels) is very simple and straight forward. If possible, run a minijack-cable from the recorder to your camera, so you can easily sync sound to video in post (also, you'll get a backup recording of the sound in-camera, perhaps even good enough to use without syncing).

I'm guessing there's a ton of cheap alternatives, but the Rode and Zoom combinations have worked well for me.

I'm using a t3i as well. All depends on your needs my friend. You don't mention a tripod- I got this one and I love it- fluid head, very solid. Also got the wheel base attachment which is great on a smooth indoor surface.

I managed to make a glider on the cheap that does a great job. However it took me far too long. Lesson learned. While it was fun, I wouldn't do it again. I could have taken the 8 hours and worked and made more than enough money to buy my own.

You also might want to consider a 7inch field monitor. Makes a world of difference to me.

Wow. So not worth it. None of these even have a follow focus attachment. They don't even have it as an option. If you want to spend this much on these things, just buy a redrock micro. If you want to be super cheap about it, go with this heavy duty gorillapod

It's the strongest one they make. My friends and I did some tests. It does a fantastic job eliminating shake. Almost on par with my $1,300 redrock micro eyespy.

I've been thinking about it as well. I've got this lifecam and the included software comes with limited manual controls (pic). It would be good for doing a youtube show, but it would be pretty difficult to film anything else. You obviously can't use a tripod or any other standard film equipment but I'm sure you can find creative ways to make a simple video. But obviously a proper camera would make the whole process much easier and the final product would look better.

As a former security guard, I can say that these can get very uncomfortable. Granted I was wearing mine for up to 14 hours at a time and had a lot of shit on it (2x handcuffs, flashlight, medical gloves, keys, UHF radio, etc).

I've never though about wearing one to hold photo/video equipment. However, I'll give a few tips for those who do decide to try them out:

• Get an inner belt like this. The purpose of this is that because duty belts are too big to fit in the belt loops of pants. The inner belt acts as the actual belt for your pants, and the duty belt goes over top. How do they stay together, you may ask? This brings me to my next tip.
  
  
• Get "belt keepers", which look like these. These go around both the inner belt and the outer duty belt and literally "keep" the outer duty belt in place. INCEPTION TIP (tip inside of a tip): if you get a woven nylon outer belt, get woven nylon keepers. If you get a woven leather outer belt, get woven leather keepers. If you get a solid leather outer belt, get solid leather or molded keepers.
  
  
• Make sure your belts are fitting properly. While they can be adjusted to a certain degree, nothing sucks more than having a duty belt that is a little too small. Believe me.
  
  
• Make sure the belt buckle has a center button like the one pictured here. While this may not be as important for using these belts for more light duty activities such as photography or videography, it's very good to have. Its purpose is to prevent any accidental "unbucklings".

I have done weddings in the past, but I don't really do that anymore. As far as lenses I have a 85mm 1.4, a 50mm 1.8 and an 18-135mm zoom 3.5. I have never had an issue with low light on my 1.4. as far as a response to the using prime lenses, I would say the point when shooting a reception is to get up close on people, so a zoom is unnecessary. The only time i could think a zoom lens is good is for the actual wedding when you have to by way in the back. Anyway if your going for a nightclub effect kinda deal, then the light is absolutely necessary. I wouldn't focus to much on brand names when it comes to those lights. Get yourself a nice small LED light. most of them have an adjustment knob, and are small and compact. You usually have 2 options, these are the ones that feed off the camera battery via the hot shoe, and those that use their own batteries. If you plan on using it a lot, get one with a rechargeable battery pack, unless your cool with changing out AA every few hours. This is a good one
http://www.bhphotovideo.com/bnh/controller/home?O=&sku=743442&Q=&is=REG&A=details

OR

http://www.buy.com/pr/product.aspx?sku=227726324&sellerid=19087894

or

my favorite

http://www.amazon.com/dp/B004W4EQVY/ref=asc_df_B004W4EQVY1972205?smid=ATVPDKIKX0DER&tag=hyprod-20&linkCode=asn&creative=395093&creativeASIN=B004W4EQVY&hvpos=1o1&hvexid=&hvnetw=g&hvrand=16538700381183150173&hvpone=&hvptwo=&hvqmt=

Dude. You need to get serious about what it really costs. I know you want to think it's $16k, but that's PER semester. link This is a private college, so it doesn't matter if you're in state or not.


So let's look at this realistically:

Tuition: $16,140

Fees: $675

Board: $2670

Housing: $2600

Books & Supplies: $1312

Total: $23,397


This is for ONE SEMESTER. The fees and tuition will continue to rise every year, and to get your bachelor's degree, you'll need 8 semesters, totaling at a minimum $187,180 for a degree in film that is only as good as your reel.


Unless you have a rich uncle that's willing to foot the bill, DO NOT GO TO THIS COLLEGE. Be a self starter. Read Robert Rodriguez's book, Rebel Without a Crew. Take whatever money you have and make a movie. If you have money left over, make another one. Submit to film festivals. Network. Get your name out there. You'll be much better off in the long run.

You know, I was about to type a long reply but I've decided to be lazy and copy/paste the contents of an email I sent to a buddy who just bought a T3i. I use a 60D, and use all these things, but most all this stuff should work for you with a 5D.

Crane and eyecup:
http://www.amazon.com/gp/product/B003SAHSVI

Cards:
http://www.amazon.com/gp/product/B002WE4HE2
I buy 8 or 16 gigs, with the idea being that that's NOT a lot of room. If I had a 32 or 64 gig card and that card failed I'd much rather lose 16 gigs of footage than 64 gigs which could be an ENTIRE production.

Batteries:
http://www.amazon.com/gp/product/B003ZSHKIO
Work justs as good as the Canon name brand ones.

My 'Kit' lens:
http://www.amazon.com/gp/product/B000EXR0SI

Cheapo plastic shoulder mount we used for the music video:
http://www.amazon.com/gp/product/B0036NMQ7S

Gini camera rigs:
http://www.ebay.com/sch/gini-2011/m.html?_nkw=&_armrs=1&_from=&_ipg=&_trksid=p3686
I did a minimum purchase right as the auction ended, and snagged their "dslr rig pro 10" for 235 + shipping. If you look at their past auction history, it seems like EVERYONE does this.

Audio Recorder:
http://www.amazon.com/Zoom-Handy-Portable-Digital-Recorder/dp/B001QWBM62/ref=sr_1_1?ie=UTF8&qid=1315766729&sr=8-1
They just got me this bad boy at work to plug my XLR mics into, so I record audio to it, and video to my dslr and then sync in FCP. Works awesome, however you probably could do the same thing with your HDV camera, they'd be about the same size.

As always: cheesycam.com has the best reviews and whatnot on all this stuff.

Here's KEH.com's listing for the kit lens you are looking at. They have a rating system with UG at the bottom, then BGN, and up. I'd go for BGN though, they tend to be extremely conservative with their appraisals. http://www.keh.com/camera/Canon-Digital-Zoom-Lenses/1/sku-DC079990648100?r=FE

Remember, it's the glass that matters. so buy the (or borrow my) cheapest lens you can and start saving for the nice lens.

Perhaps, But I don't know a damn thing about Color hahah I think it looks great! I'm just starting to get into color correcting and was just curious if those effects could be achieved totally in Final Cut. As for my question about a shoulder mount, I was going to recommend this if you weren't already using one.

http://www.amazon.com/CowboyStudio-Shoulder-Support-Camcorder-Camera/dp/B0036NMQ7S

Its $30 and works pretty damn well for the price. I love mine to death. Heres a quick (and very sloppy) sample of the first thing I recorded with it.

http://vimeo.com/22252489

With much respect to deftouch's comment, you said you are just starting?

The one, absolutely critical, must read book you need is: Rebel Without A Crew by Robert Rodriguez. Because right now what you don't need is a lot of information on this camera, or that lighting, or this microphone, or that editing system.

What you do need is the confidence to start making your own movies, without which you will end up like people I know, owning thousands in movie equipment and still never having shot anything (I've made four short movies). Robert Rodriguez Robert tells the truth; the camera you need is the one you can get your hands on fastest. That might mean borrowing you mom's handicam - do it! Having a fancy camera doesn't make you a filmmaker anymore than owning a private jet makes you a pilot.

A lot of people are going to tell you that you need to buy expensive equipment, go to film school, get a filmcrew together, hire an editor, etc.... This is all bullshit. Robert Rodgriguez made his first feature ('El Mariachi') himself for $7,000 and got picked up as a director by Columbia Pictures because he had spent years teaching himself movie making on borrowed equipment.

What you really need is any camera you can find, a decent story idea, someway to edit, and lots of practice. Rebel Without A Crew will inspire you to do just that, get out there and make your own kickass short movies, with whatever equipment, props and actors you have available. The more you do it, the more you learn. And you will learn about what's important: How to tell a story, how to work with actors, how to edit. All the technical stuff about camera etc. can be learned as you go. But get started. And that's what you're really struggling with, right?

Do yourself a favor, pick up this book, get inspired, and start making your own movies!

[EDIT] P.S. In regards to editing equipment, anything you can edit with is a good start, even if it's just Windows Movie Maker. If you want to buy something, Sony Vegas Pro 9 is great for about $100. Professionals use AVID almost exclusively (watch any movies credits), but that might be just a little out of your price range.... Start simple, learn as you go.

Ah, sync-sound is a beautiful thing. I love my Zoom H4n more than any other audio equipment I've had in my career.

My girlfriend bought me this from Amazon. We live in Sweden. It's pretty awesome. It's about Directing.

The Filmmaker's Eye - Easy to read book that I've fallen in love with. Not sure if it's what you're looking for, but definitely something to consider!

And to follow up on this solid line of thinking, I'd strongly recommend this:

http://www.amazon.com/Film-Directing-Shot-Visualizing-Productions/dp/0941188108/ref=sr_1_1?ie=UTF8&qid=1321583365&sr=8-1

I'm a fan of this book, The Filmmakers Eye.

Rebel Without A Crew

Have you looked into making your own?

i was looking at shoulder rigs yesterday and had the idea of maybe doing a diy rig and this is the rough list I've come up with so far.

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