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Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh okay thanks, I will try to look out for that.
As for actors looking the in the right direction, one scene I wanted to do, was where two actors were talking but I wanted dead on shots of them looking straight forward into the camera at each other. Kind of like in an Ozu movie. However, one of the actors refused to look dead on to the camera, and kept saying that he would be breaking the forth wall, and refused to do it. So I was forced to use the wide mastershot as a result. How do you get an actor do shots like that, without them thinking they are going to break the fourth wall? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
You dont hire those people. Those people are idiots. You make better choices during casting. An actor’s job, literally is basically to do what you tell them as the director.
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Re: How does a filmmaker decide which aspect ratio to shoot in?
Okay thanks, but I don't know if an actor will have a problem like that in the audition at the hiring period. I don't find things out till later.
For example, the woman in the short film did much better in the audition than she did during shooting. During shooting, I couldn't figure out why but I could tell that the audition was better. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
My answer was perhaps a bit brash.
But seriously, I think all of this comes down all of these people (hopefully) being amateur/nonprofessional actors. I'm willing to bet these issues would magically disappear if you start using professional actors from a talent/casting agency. They will be consistent from audition day to shoot day, and not say stupid things about not being able to look into the cam 'cause it breaks the fourth wall. Unless maybe if you get Edward Norton. So don't get Edward Norton. In the amateur/unpaid world there are still good people who care, but you will have to seek them out and no I don't know how to find them without wading through a sea of garbage people. But if/when you do, you can use the same people over and over instead of auditioning new ones. A bit stale/predictable, perhaps, to see the same faces over and over again in a filmmaker's work, but surely preferable to people who can't actor or take direction. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh okay thanks, I didn't think you were being brash I don't think. I thought the problem was me as director not being able to bring out the performances, and it was all me and not the actors.
But how do some directors, bring out good performances in non-actors, like movies like City of God, or The Battle of Algiers, or El Mariachi, which I read used a lot of non actors as major characters, if that's true. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
As for keep on making short films, I don't think I can do that. It's just I've saved up money for the feature and I can't afford to keep spending more on shorts, if I plan to make the feature.
Plus I feel I've been helping out on other people's projects and doing my own short films for years now, which is fine, but eventually, like the filmmakers I helped out, I think it's time I take the plunge and do a feature, cause I can't afford to do shorts forever, I feel. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Regarding non actors, the secret is investing a lot of time into the casting, you may go through hundreds of people to find the right person. You also spend time working with them before the filming starts. especially young people. On one short film I made there was a child in the main role, we auditioned a nearly a hundred children for the part and then we auditioned every professional actor around who were suitable for the other parts.
How good a film is going be is 80% decided before a single frame is shot. On "City of God" they used improvisation and had workshops before the filming. https://www.theguardian.com/film/201...de-city-of-god If you want to make a feature, I would invest time in learning about acting. It's the quality of the acting (and the script) that tends gets a film selected for festivals, not the aspect ratio. The selectors are only going to give you five minutes viewing before moving onto the next film, if it doesn't grab them. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Okay thanks. How do you have hundreds of people show up though? When I cast my short film before, only about 1-5 people showed up for the parts. It's probably going to be more showing up for the feature, but I'm wondering how do you get hundreds to show up?
Also, how long should I wait between casting and production to prepare the actors, do you think then? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
We were proactive, we went around schools etc for the child.
I don't think we auditioned hundreds of actors, I think we had about 30 professional actors at the auditions. You can be very lucky with your small number, but if you don't have the right people showing up, you do need to keep looking. I was very lucky in that regard with one film, but usually it won't work out like that. For a feature film you'd see the actors agents and look through their actors and select some for auditions, a proactive agent may do this for you. One difference is that we had a budget to pay union miniums to the actors, professional actors like to practice their craft and a short doesn't take much time, plus they may get a chance to play the leading roles. That's something they may not get to do in a larger production. There are no rules, it depends on the production. If it's "City of God" months or even a year, a couple of weeks in advance of the shooting may be OK for a short. You do want to know you've got actors. plus a list possible reserves before shooting starts. Having the main actors booked at least a month in advance should be a target on a feature, if you wish to aviod last minute rushing around and even further in advance for name actors, who may be in demand. Rehearsal time in advance of the filming would need to be budgeted for on a feature. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Some Directors shout a lot, some are blunt and rude, and some quieter, supportive and willing to listen - but they then ALL say we're doing it this way, and the actors have had their say, been listened to, and then adapt. If people 'smell' a fresh director, they abuse them - the I know best attitude, but equally, the director at some point says NO. We will do it this way. You lack the confidence in your decisions. This is where you struggle. In my role, I let people do their thing where possible, but at some point I just have to step in and get it done and much is down to respect. If they know you know your stuff, they'll do it your way. If they peg you as green, or worse - indecisive, the tail is wagging the dog.
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Re: How does a filmmaker decide which aspect ratio to shoot in?
Okay thanks. When it comes to telling actors we are going to do it this way, what if it's like in my example, where I wanted the actor to look into the camera, and I told him that is how we are doing it but he kept insisting that he cannot as it will ruin the scene. What do you do if they keep insisting?
There is also something I did understand in the advice on my short film here: |
Re: How does a filmmaker decide which aspect ratio to shoot in?
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She does in fact go out the exact same entrance when she came in. What did I do wrong to make it seem like she went out a different way, just so I know to avoid that in the future? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
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Re: How does a filmmaker decide which aspect ratio to shoot in?
I'm not sure I can explain Ryan. You either see it, or you don't. To the viewer they are in a room we have not seen, or could it be a corridor? We only see the view you present, we guess the rest, but in any shot the actors face a compass direction. When we see them move, we know which way they go. Watch it again and see if we, not you, know how she exits the room? I didn't.
You've still not got the directing idea. You gave the actor job. You wrote the script. You have the vision. You need them to do it a certain way. You have the option to stop and explain why you want them tondo a certain thing, or you just tell them to do it and assure hem it's what you want. It's clear you're letting your actors ignore you. If you are paying them, they must do what you say to get paid. If they are volunteering, then only your skill, personality and stature will work. They may be right or they may be wrong, but it's your call. If you have established a kind of cooperative not hierarchical structure, you've lost control. It's supposed to be a pyramid,neither you at the top. Anything else is a disaster in the making. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
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In dialogue scenes actors don't usually look directly into the lens, but sometimes very close to the edge of the lens when doing a tight single. To assist, a camera tape mark can be placed on the matte box to give them an eye line. Often the off screen actor is moved close to the camera to assist with these shots. I gather Micheal Caine goes into how the actors can deal with this in his book on acting, if not, you can google an old acting masterclass he did (I think it was for the BBC), where he goes into techniques to bring their eye line closer to the camera. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
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Or are they not looking quite towards the camera. Hopkins looks like he is. Quote:
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Re: How does a filmmaker decide which aspect ratio to shoot in?
There ARE some precendents for people looking into the lens in dialogue scenes...I think there was some of that in Shayamalan's "Signs". Warranted? I don't know. But a (once) prominent filmmaker did it.
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Re: How does a filmmaker decide which aspect ratio to shoot in?
Jody Foster is not looking directly into the lens, she's looking very close, just above the lens (eg the outer edge/filter holder). perhaps slightly off centre.
You do need to have a dramatic reason for them looking directly into lens, some come very close to doing so, but don't actually do so. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh okay thanks, I will have the actor not look directly in then but very close.
What about the scene in mine when the women leaves though? In other movies you will see a person leave a room, but you don't actually see the person leave the room, but the other person's reaction to it. What did I differently that makes the viewer think she left a different way that she came in, when in fact, she went out the exact same way? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
The set up is key, if characters are going to do actions off camera the audience needs to know the geography of the location so they can form a mental image of where the off screen character is in relation to what they're seeing.
The secret is hiding the set up, so that the audience don't know it's a set up and then having the pay off later on. Just because you know it doesn't mean the audience does. The set up prepares the audience. This becomes even more important if you're going in for time travel, worm holes or inter-dimensional shifts. "Back to the Future" is jammed packed with set ups in the first act. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Ryan - did you ever see the Star Trek Next Generation episode where the aliens spoke in metaphors? We use an analogy or a real event to try to explain, but you take it literally. We are NOT setting rules. You cannot do this because we say so - you must balance the decision against what YOU want.
I'm talking about BIG blocking errors. Do you walk your actors through the scene? Then they know where each other is in 'real life', then when you reset for reverse angles, you have to rotate everything, so their right hand, if it pointed towards the other actor is STILL pointing at where that person is, even if the camera is now there! If you are shooting me, looking at the camera, and I look away to my left, then reset the camera as if you were in a studio with tow cameras, you have to shoot me turning the same way to the new camera position to make the edit work. In yours, it went in reverse which really makes you sit up and ask what happened. You don't need to see all of a room, but you MUST give the audience clues. In the silence of the lambs clip look very carefully at Hannibal - he is looking upwards to her - his eyes eating into her soul. She in return is looking at him. It works beautifully - the odd framing is a rule breaker normally, but here it's incredibly powerful because they got the angle absolutely spot on. it works. This is the mark of a great director. It wasn't luck ands was planned in advance. The director would have explained the intention, got everyone to understand - cast and crew, and then checked in the viewfinder, or watched the remote intently. EVERY decision you make matters. you do NOT make them because we suggested it - it might be totally a bad fit. Breaking the fourth wall is not just looking into the lens, it is looking past the lens, into the viewers space, rather than the playing space on set. It can be eyes, but also a change in the actor's demeanour/appearance. I was doing a stage play with Sir Laurence Olivier. At an intense moment, he suddenly straightened up, turn around and hurried down the stairs and asked the audience to forgive him, but a really important plot point had failed to happen, and it would spoil their enjoyment, so he asked permission to do it again - the audience murmured agreement - he went back to the bottom of the stairs and suddenly morphed back into his character - everyone saw him transform. That's an actor for you. If you need the actor to look into the lens you can do it. As long as it works. In your time travel movie - I still have a question. There was a laptop, and then a hole in the ground. Is the laptop the time machine or is that in the hole and we didn't see it? A while back you said your money was short, so you didn't want to do more shorts, but go straight for the full length movie. If money is tight - spending it before you have successfully directed, written and produced a short is very risky. Do a skills audit on all the things you personally are in charge of. Are you ready? Have you conquered all the problems? Have you earned the respect of the credit and cast, have you sorted the locations, and have you got a contingency fund - because you'll need it. What I'm suggesting is that I don't think you are ready yet. We can help you waste your money, but we don't want you to go both feet in yet. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Okay thanks.
But I feel there must be some guidelines to follow because when I have someone leave the room, without showing them and I only show the other actor in close up as they turn to react to it, I've seen this done before in many movies, and the shot is the same. OTS shot, of person leaving the room, then the actor who's camera is over the shoulder of, turns to react, so I just want to know what I was doing differently so it won't happen again. As for the time machine, when the woman watches the man from the trees, you see the man put he wine bottle in a case, and then put the case in the hole. That's the time machine. The laptop is controls the time machine remotely, so the guy will not have to get into the hole with it, and can distant himself from the time traveling. There are no close ups showing this since it's from her point of view. But how do movies like Rear Window for example, show the events from Jimmy Stewart's point of view, without doing any close ups, and the audience still understands what is going on? Or what did I need to do differently to portray the time travel from her point of view, since I want her to figure it out, from her point of view, along with the audience? As for doing the movie, I just have other filmmakers and crew I have worked with before, very interested in doing it now, and I think since they are all interested, now is a good time, compared to waiting. I already waited over five years to make it, cause I felt I wasn't ready years ago, and people who were interested in it before are either gone or too old now for the roles, acting wise, so I feel that if I don't do it now, I will again loose interest and not be taken seriously if I am not willing to take the plunge on it. But I want to get more experienced DP as and sound and actors, and the crew that are interested can do their roles, such as a good AD I know, from working under before, etc. When it comes to establishing geography of a scene though, I watched this video, and this guy has the 3 + 3 rule, which he talks about at 4:30 into the clip: However, he says to get a wide shot, or mastershot to establish geography, and then get a reverse of it. If I have a mastershot, of two actors, and then reverse it and put the camera on the other side though, wouldn't that be breaking the 180 degree rule, since the characters are both now on opposite sides of the camera? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Set ups are the key to all these things. We know that James Steward's character can't move out of his room and his view (so our view) is restricted to what he can see from his room either with his eyes or using the telephoto lens on the camera. It's his limitations with the voyeur aspects and his need to find out what's going on (as displayed by his job as a photographer) that create the world of the character. His need to see more is matched by the audiences, but both are restricted yet are driven by curiosity.
I would read more of the scriptwriting books, because you don't seem to have understood them. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh okay, but doesn't the audience understand that the woman has to wide in the trees, so the men she are watching will not see them? Isn't that a set up though?
What do the screenwriting books do, when it comes to using camera angles to set up geography though? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
The set up is in the first act, after that Hitchcock gets the audience to have empathy with characters. You see the action from the window and the danger has been put in the argument about going into the other apartment. Hitchcock likes the tension of the wider views, showing both characters, so he can tease the audience about the possibility of discovery by the suspect.
You seem to be so obsessed by the shots that you're forgetting that they serve the story. A well written screenplay will suggest the shots as you read it, good writers will almost have them there without calling them shots, just by how they describe the action. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh I want the shots to serve the story, it's just that I am told that some of my shot choices don't establish enough, so I want to learn the best shots to serve the story for sure.
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Re: How does a filmmaker decide which aspect ratio to shoot in?
You're running into the problem because you're separating the shots from the characters. You have to sense how the characters and their struggles within are revealed and served by the shots and how they join together. That's something you have to learn yourself, there are loads of resources out there to assist you in finding how to use them. It's self discovery, with mistakes along the way.
However, you won't find a solution in the short answers in a forum, you have to dig deeper than that if you want to progress. All this reminds me of someone I know who kept asking questions, after a while it dawned on me that he didn't know what a story was. The fundamentals were missing, strangely he could do short video documentaries, but they didn't have a story, they were descriptive, without any conflict. 5 years is nothing in the time scale of making a feature film, some take 20 years or more before they get made. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh okay, I will try to do that. I have a money for the feature now, but not sure if I would have it in five years, plus I have people interested. I just feel I should do it now. Plus every filmmaker I worked for didn't have to take 20 years to do it though.
But I will try to imagine the shots differently then. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Step back and realize that out of the contributors in this thread, 3 including myself have said you are clearly not ready. That number will probably grow to be everyone who's answered here. Again, you can spend the money and proceed anyway if you want to, but you should mentally prepare yourself to think of it as throwing that money away, as in, you probably won't have a saleable product. If you wanna do it just to do it and say you did it, that's on you, but going into it thinking you'll be able to win at fests or make money is another story.
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Re: How does a filmmaker decide which aspect ratio to shoot in?
Yeah but people always tell others they are not ready. Even if I waited another few years I still think people will say same thing and that is just something people say.
I even asked the filmmakers I worked under and they said everyone told them they weren't ready and kept telling, them and that's normal. Some of the successful directors even say that people told that to them all the time, but they still made the movies. So isn't it normal for others to say that, cause they worry about someone not making it? Plus the last short film I did, I got about 80-90% positive feedback on so I feel like I am coming along and learning. I was told to just spend the money to get better actors and a better DP and crew. So what if I just started getting the crew and casting and see who I get first, then if the people are really talented, and I get others input who think so, maybe I can decide if the produce is likely going to be good or not and then know whether or not to proceed? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
There' s a lot to unpack and there and I'm not quite sure where to start.
How do you know the filmmakers you've worked with are ANY GOOD? Do you have links or titles to their work? ANYONE can make a film. I was talking yesterday to a sound guy who's worked on features and says many of the cheap indies are self-financed/vanity projects from rich people who "always wanted to make a movie." Here's a film we talked about that is just such one. You'll notice a well-known actor in it. Realize this does not mean anything. Does the trailer not make this film look terrible? What if people told this guy (lead actor by the way is the director) "you're not ready"? THEY WOULD HAVE BEEN RIGHT. Seriously. Look at this thing. So the first question is "how do you know anyone you've worked with knows what they're talking about?" This entire industry, really, most art/art-adjacent fields are full of people who are full of crap. It's like they all went to the same school where they were told to make it sound like everything they've done/were currently working on is amazing, huge, destined for greatness. Honestly, unless it's someone already known, or I've seen the work myself, I now ASSUME by default that what they do is terrible. Jaded, cynical, not particularly nice, perhaps, but also true most of the time. Your last short film...where was the feedback coming from? Strangers? Friends? Family? A mix? People are notoriously bad at being blunt/honest with folks they know and love. If I've grown any it's from the people who criticized or crapped on my stuff. Do you have this most recent film to post to get opinions here? Is it the Timewine movie? If it isn't, maybe the latest short shows significant improvement and you've been getting flak for an older film. As for the last part, the problem with the final product won't be talent, crew, etc.,--if money is spent--it'll be the script and direction which will be coming from YOU. No amount of money can fix that unless you commission a writer and someone else directs, and you simply act as producer, which is not (I don't think) what you want. People here are saying that you lack some of the fundamentals involved in writing and directing; THAT is why we don't think you're ready, and again, money can't fix that. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Okay thanks, I see what you mean by the trailer not looking very good. Hopefully I can make something better.
When you say comission someone else to write the script, do you mean touch up points here and there, for rewrite the entire story? The other filmmakers I worked for, non of their features found distribution yet, accept for one. However, I feel I have to, like them, at least try. The last short film I was going by the opinions of strangers, not friends and family. I feel I will always be told I am not ready though, but when it comes to selecting others, and being able to tell that they know what they are doing, can't I just ask other people's opinions on actors and a DP to judge their quality? Or how about this? What if I took the advice given, and storyboarded the whole script, and judging from the storyboards, maybe other filmmakers can tell me if they make sense or not to make the movie with? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Simply:
If this all goes south, can you stand to lose that money? Being a director is really all about making decisions, including all the things you just asked about. That is why one directs, because one has concrete ideas about all those things. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Okay thanks, but can't a director ask other departments for their input though? Like when I asked about aspect ratio, one person said to discuss it with the DP, once I bring them on board. Is that bad, to ask about things, and I am to have all the answers myself, without any input from other departments?
As for losing the money, I was told I should make the movie for just 20K, cause then I wouldn't be loosing near as huge of an amount. But I worry that 20K might be too low and show on the screen, but I was also told I just got to make it look good for what it is, if that's true. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Of course a director can and should ask for input from others but the way its come across here is that you want them to entirely make decisions, like all of them, for you. I would say you should have a fairly concrete idea of what should happen regarding all aspects of the movie (visuals, acting style etc.) and be open to input on some of the more specific things that pop up throughout the process, Youre like the “president” of the movie...you know what you want to do generally/big picture but you have advisors (other depts.) to offer input on how better to fulfill the vision you already have and warn you away from bad choices. But they dont create the vision FOR you. You should already know what you want to do.
As for the money I dont have much input on that. All I was getting at is however much you spend, understand that statistically theres like a 90% or better chance you will not make it back. Its basically like gambling. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Yeah I know the money is gambling but it seems that so many other filmmakers have had to do it for their firsts, that it's just an unfortunate but normal risk.
I don't them to make all the decisions, I have all the shots and blocking almost all storyboarded out now. I just want to be able to say to the cast and DP will this work, to make sure it all works. But all the shot and blocking ideas are still mine, right? But perhaps the script and storyboards will determine whether or not the talent will think it will work or not and if they wanna line up or not. So perhaps I will know if the production will turn out good likely, depending on what actors and crew think of it, when I pitch it to them? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
If you really want to, no one can stop you from making a feature film. The budget you have is low, but it depends on the nature of the film and the people you've got involved how good it will be and if you've got sufficient funding .
For a low budget film you should spend a LOT of time developing the script, writing as many drafts as it needs. Sending it off to get feedback from a good script editor is money well spent, allow at least a year for the script development.Time is one of the best script editors. One first time writer/director applied this ruthlessly and their film got into Sundance. During that time go on an acting course, because nothing lets a film down more than wooden acting. Life drawing is also worth doing, it means you can draw the storyboard directly without using a program. It also teaches you to look and see things. Don't try rule breaking if you don't understand it. Get the emotions from the actors, not by breaking the 180 rule to "reveal something", the actors can do that better than you can. It doesn't matter if some feature film has done it, the important thing is what is right for your film. In the end, bear in mind that you will probably lose the money, so the most you will get out of it is experience and some hard lessons. Making a feature film will be more time consuming than you think, especially if you want to have a reasonable quality product and it will push you to your limits. Professional directors work for years before they make their first feature and they've worked on bigger productions than your shorts. It depends on the stage that you're at when going for your first feature, at the moment in your case. it feels like a vanity project (doing a feature film), rather than a subject you feel passionate about. Producers also need to feel passionate about projects because they know they'll spend years trying to get the film funded, made and marketed. plus all the legal paper work involved. "One Flew Over the Cuckoo's Nest" took over 10 years to get made. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh okay, I would say I'm very passionate about it, otherwise I wouldn't risk the money.
I've tried getting on other shoots, but have only been on the ones I've been on over the years. I want to make it as good as possible for sure. I thought about co-directing so another director can direct the actors, where as I would make all the more technical decisions, such as the cinematography and shots. However, it seems that some say that co-directing is usually a bad, if that's true? |
Re: How does a filmmaker decide which aspect ratio to shoot in?
You need to to be very careful on this one Ryan. You cannot ask "will it work"? What if they say no? It's fine to ask for suggestions, it's good to consider them. It's very good for the cast an crew to feel valued, but the question is also linked to another. How much do you trust them.
Have a think about this one of mine from Friday. A stage crew had not had time after a busy day to put away the risers they had been using for a show the night before. There was a drum riser, and another a little lower, used by the brass section. They are heavy, and when collapsed very awkward to move, and frequently trap fingers. The incoming show had drums and a percussion section. They asked if they needed risers, as they had not been requested. The incoming show said "we don't normally, but do you think they'd look good?" To a man, the crew said they'd look really good. The person in charge looked happy - they used them. It looked awful, because with this shows layout, there was no need for them, and worse, one of their people wasn't too good on his legs, and getting up there wasn't easy. The lighting people were very happy, because the lighting installed the day before was now exactly in the right place and that was even less work. At the end of the show, I made the crew put every single bit away, and reset the lighting. They pleaded that the next show in might want them - but I wasn't having it. I didn't overuse them in front of the clients, but their comments were not what was best, but what was best for them. It's your money Ryan, but let's face it. Some of the advice you have had from these people has been terrible, clearly wrong, and you must ask yourself how much you trust their opinions - my reading is that they are taking advantage. This is important to you. To them, is it just a bit of work, and the end result unimportant. A good little tip. Have any of the crew asked about their billing in the credits? Maybe wanting to have a better credit than really fair? Somebody wanting 'supervisor' or 'Manager' in their credit, when they were really supervising themselves? a team of one. Have any of them looked a bit shocked at the pay, but then wanted to do it anyway? Will any of them turn up early, or at exactly the call time? Are any of them doing your production because they've nothing better paying in the diary? Do not expect artistic comment from them - they will want the easiest life they can get. All their judgement calls are based on impact to them. If you ask if we should shoot just one more, will bring back the group decision - NO, it was fine. You have endless enthusiasm, but no awareness of people management, and I am not sure about your attention to detail. Some of the stuff you ask, you must already be aware of, and just want our nodding heads to reinforce your own judgement. This isn't the way to spend money. |
Re: How does a filmmaker decide which aspect ratio to shoot in?
Oh okay, well is there anyone a director can consult if all the shots and blocking and acting will work then?
As for what if they say no, then that's good, and we can come up with a new shot, or new blocking that works then instead, no? |
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